5 comments about Generation X.

1. The first issue one may notice with this release is that the track listing is different from the album released in the USA in the late 1970's. The USA release actually was a compilation of most of the UK vinyl tracks (minus "Listen" and "Too Personal") with a couple of singles ("Your Generation" and "Wild Youth") and one B-side (the disposable "Wild Dub") tacked on. This is identical to what transpired with the first Clash album - and to address it Epic has reissued both versions on CD. All of the original UK tracks are included on the CD reissue. My problem with this CD is two-fold. First, the studio version of "Gimme Some Truth" which was the first track on the original vinyl release in the USA is inexplicably left off of the CD. I happen to think the Generation X version is better than John Lennon's original from his 'Imagine' LP. One might note that the CD reissue of 'Valley of the Dolls' lists "Gimme Some Truth" as a bonus track but this an inferior version recorded live at the BBC, which poses a huge dilemma in that there is no accessible way to obtain a remastered studio version. For this reason, I have kept my vinyl copy. Second, while I believe remastered CD's are a benefit 90% of the time, I believe the remastering here goes overboard. The intial CD's from Generation X did lack punch but at least the instruments and vocals were balanced. On the CD reissue, the lead guitar is cranked too high. On repeated listens I have noticed that the problem many seems to be on the first eleven tracks which represent the original UK vinyl release. "Your Generation", "Wild Youth" and the tracks from 'Valley of the Dolls' do not seem to suffer from this fate. I just think the sound person was a little too enthusiastic here (if you want to listen to some great remastering check out the phenominal job that SonyBMG did with the British reissues from glam-rockers Sweet - these are amazing). If the lead guitar was toned down slightly and "Gimme Some Truth" added as a bonus this would rate five stars.



2. Generation X's debut is what punk was all about - complete with a fun factor that for the most part was missing from British punk at the time(with the exception of the Damned or the Adicts). Jerry Only of the Misfits said that Gen X was his favorite band, and that Billy Idol should be punched in the face for breaking them up! Their influence on the early Misfits is evident, and their influence on punk in general should not be ignored. If you want a good testament of '70's British punk (and good punk in general) then look no further. Extra noteworthy tracks included!



3. I'm a big fan of this album. I've owned it on vinyl, on cassette, and I used to have the original CD release. Now, I own this version, and I'm not at all happy with it.
   
   Take for a start, that the track listing is shuffled from the original running order. Ok, not that big a deal, I admit. But this shuffle appears to have been done, to hide the larger problems with this disc:
   
   Four of the "bonus tracks" are not bonus tracks. They're tracks off the original album, and I have no idea what pinhead labeled them this way.
   
   Three of the tracks on the CD, which are NOT listed as bonus tracks, actually ARE bonus tracks, as they do not appear on the original release.
   
   Further, a bonus track which was available on the cassette release, the studio version of "save my life" isn't provided.
   
   And finally, my biggest gripe: Track one is completely missing - "Gimmee Some Truth" that song that opened the album, appears nowhere on this CD.
   
   After looking around for a replacement track, I've discovered that the only version of this song currently available, is the one on their Anthology box set, which is a diferent take, with different instrumentation, different lyrics, and a really annoying timing error in the first few seconds,which makes it sound like someone's turning the speed control on the record down as the song intro plays.
   
   So, great band, great album, and completely cocked-up CD. After the muddy slowness of the original CD release, I was really looking forward to finally getting a decent copy of this album for my collection.
   
   I'm still waiting.
   
   What happened?



4. When you listen to Generation X, they had more susbtance, better dynamics, churned out more songs, and wrote cacthier, more radio friendly songs then most of the other Brittish punk groups.
   
   It's no coincidence that Billy Idol moved on and became a big star.
   
   This is a real good cd not only as a representative of the 70's punk movement but also because the material was just plain good as basic pop music.



5. What can you say besides, simply genius. Idol and Tony James interfuse stripped down rock (punk), with pop sensibilities. Idol was at the top of his game during the UK Punk Invasion, unlike such in my opinion junk like rock the cradle of love. Idol has in my mind a voice made for punk, probaly the best punk voice ever, a tie between himself and Joey Ramone, RIP. If your into 70's punk, please pick up this cd, or just download Ready Steady Go, or Kiss Me Deadly. Excellent writing, excellent music. Kiss Me Deadly is one of his best songs, that and Running With The Boss Sound on Valley Of The Dolls. IT DOESNT GET ANY BETTER THAN THIS!! READY STEADY GO!

5 comments about Leaders of the Free World.

1. We Yanks may have invented rock & roll, but the Brits have taken it to truly astonishing places. Elbow, like many other English bands, creates beautifully atmospheric songs with clever hooks, walls of sound and sparse arrangements, all the while doing so with such poise and sincerity. Guy Garvey's throaty, effortless vocals and visual lyrics add a depth to which other bands of comparable musical aplomb can only aspire.
   
   I've only recently stumpled upon Elbow, but am endlessly glad I have. Elbow, honestly, is what Catherine Wheel could have been without the over-the-top production. Elbow really are one of the best finds for me in the last year or so and are finding daily play at work, at home or on walks with the iPod.



2. One of the first songs I ever heard by Elbow was the excellent "Forget Myself". To me, the song sounded a bit like Doves, perhaps cause Guy Garvey sounds a bit like Doves frontman Jimi Goodwin. And though Elbow gets various comparisons to Coldplay, Doves, Peter Gabriel and even Radiohead, I will say that Elbow is definitely their own band, and bring something fresh and new to this genre of music. As far as this album, I think its terrific. Pretty much every song is good, some of them being just brilliant. The album opens up with the excellent "Station Approach", that slowly builds up to epic form. The steady rhythm of "Picky Bugger" mixed with a high octave chorus is great. The next three tracks "Forget Myself", "The Stops", and "Leaders of the Free World" are, in my opinion, the album's strongest point. "Forget Myself" is just utter brilliance, while "The Stops" has one of the most beautiful choruses I've ever heard. The title track is very catchy, mid-tempo track with great lyrics ("I'm sick of working for a living, I'm just ticking off the days til I die.." "But the Leaders of the World are just little boys throwing stones..")that sounds a bit like a song that a band like Starsailor would write. "An Imagined Affair" is a decent track, but its probably my least favorite from this album. Another standout track is the up-tempo "Mexican Standoff", again, great lyrics. Notice that the songs rhythm section sounds extremely similar to Radiohead's "National Anthem". Tracks like "My Very Best" and "Great Expectations" are beautifully crafted songs, slower paced songs, with wonderful choruses and melodies. The record finishes with the under 2 minute "Puncture Repair", which is also good, but would be much better if given the proper length. Overall, this is an excellent album. Definitely recommended for anyone of enjoys more slower-paced melodic songs with feeling to them.
   
   Key tracks: "Forget Myself", "The Stops", "Leaders of the Free World", "Mexican Standoff" "Great Expectations"



3. And what more can you ask from any band but this? This album has a wonderful acoustic sense about it. Full, lush production. And Guy Garvey's voice has never sounded better (for those of you still unsure, imagine Peter Gabriel meets Seal... but put to more acoustic fair). Lyrically this is as strong as anything they've ever done. If I was to direct any critisism it would be that the final 4 songs are on the slower side with the best of the bunch "My Very Best" amongst them. However, this doesn't make for a perfect listening experience IMO simply because it seenms to deflate (ever so slightly) what had been building throughout the album. This is but a nitpick though and hardly worth mentioning.



4. Elbow's third album is a grower. It is better produced than its predecessor, Cast of Thousands, which was wonderful but rather murky. Leaders of the Free World is not Elbow's best or most defining work, or their most consistent, but it is probably their most accessible.
   
   The record is largely a collection of ballads, bookended by the slow builds of Station Approach and Great Expectations (Puncture Repair, the final number, is a cute coda "about friendship," according to lead singer Guy Garvey); anchored by the stomping anthemic Forget Myself; and diminished only by the title track, which is fine politically but musically is a disorganized mess.
   
   Gone are the gossipy numbers of Cast of Thousands or the itchy, dissatisfied smoke-filled-pub themes from Elbow's debut Asleep in the Back. They have largely been ditched--Picky Bugger aside--in favor of more traditional themes of love, jealousy, and heartbreak. But Garvey remains one of today's more clever lyricists. "I'm not superstitious but if I can get this ball in the basket then he'll wake up dead," he pouts in Mexican Standoff.
   
   And yes, I will address the Peter Gabriel and Coldplay comparisons, since they seem to be mandatory. Garvey's delivery is indeed a hybrid of Gabriel and Chris Martin, though he sounds more everyman and bloke-ish, and thus more accessible, than either of them. Elbow does evoke Coldplay in its exquisite layering of guitars and pianos and general British sensibilities. But the comparisons end there. This is, emotionally, musically, truly unique material that is all its own.



5. Although I loved the debut album, this 3rd album is even better. Very solid melodies, arrangements, and lyrics throughout!

5 comments about My Aim Is True.

1. I purchased this CD for $29.98, only to find a few days later the price marked down to $17.97.



2. Like others I feel more or less forced into buying this because of the Nashville Rooms concert, which is first-rate. I would put this concert above the Washington, DC concert at the Warner Theater on the 'This Year's Model' bonus disc because the Warner concert is similar to the previously released 'Live At The El Mocambo' disc which was recorded one week later in 1978. The Nashville disc shows Elvis and the Attractions in fine form working through most of 'My Aim Is True' and including surprisingly fleshed-out versions of songs from 'This Year's Model' along with "Hoover Factory" which would eventually emerge on a EP in England and the 'Taking Liberties' compilation LP is the USA. The sound check portion of the concert also includes "Crawling To The USA" and three other songs not performed in the main concert. However, to get this concert, one is forced (again) to purchase 'My Aim Is True' which, although it has bonus tracks (some of which are released for the first time), some of the bonus tracks from previous editions are left off. This is frustrating for a couple of reasons: 1) If one has to invest in the recording again, we should at least have the benefit of all of the bonus tracks from previous versions; and 2) There is plenty of room on Disc 1 to allow for these extra tracks. This is more of a consumer philosophy issue for me as in most cases I listen to demos once or twice and not repeatedly (I did find the new demo of "Call On Me" of note as the chorus was later re-worked into "Moods For Moderns"). I also strongly prefer the Rhino jewel case packaging to the annoying Universal "Deluxe Edition" packaging. I have four UMG "Deluxe Edition" releases and when I handle them I feel as if I am handling evidence at a crime scene. The frustrating things is trying to get the CD package out of and back into the protective case. Come on, can't we just have a nice jewel case instead that will allow for an expanded book with COMPLETE liner notes? I also found another aspect disconcerting, and that is that "Radio Sweetheart" and "Stranger In The House" appear to be different mixes than the previously available versions. "Radio Sweetheart" in particular has a background vocal (not sure who it is) during the intro about 25 seconds into the song. "Stranger In The House" is more subtle in its differences but in both cases I preferred the "true to the original" 2001 Rhino mixes to the to the Universal mixes. Again, I think the better course would have been to make the Nashville and Warner concerts available separately from the studio releases, with liner notes from Elvis. And preferably in a jewel case.



3. First. I'm an Elvis fan. Have been since my buddy turned me on in high school & before that I just saw the greatest performance on a TV movie til that time of "Peace, Love, and Understanding" on "Americathon".
   
   The original release of "My Aim is True" is awesome.
   The Rhino releases are fantastic.
   Then this came. How can anybody improve on something after Rhino had a crack at it? Don't happen? Impossible. I'm a bigger Rhino fan than an Elvis fan & the guys at Rhino are Elvis fans.
   
   Hip O did a fantastic job. The live concert is restored and remastered perfectly. The other songs are remastered to be a bit crisper- valid arguments could be had going either way on which mixes are better- Rhino or Hip O. If you are a fan, this is worth asking for on the Xmas list. I found this to be quite a treat.



4. With enough reissues to make surviving members of The Doors blush, 'My Aim Is True' sees its third reissue in about six years, now in the form of Universal's famous "Deluxe Edition" series. As much as I bemoaned the idea of this (just why are Rhino's flawless reissues out of print all of a sudden in favor of Universal/Hip-O's bare bones "originals"?) and even shook myself for paying almost twice the amount for this as I did for the Rhino reissue a few years back, I have to admit that this is an excellent presentation.
   
   The remastering is probably about the same as Rhino's, maybe a tad louder, maybe not. I didn't buy this for another remaster of an already poorly recorded album, I bought it for the second disc. The live show on this disc is fantastic. It's such a treat to hear some of the songs that would later appear on 'This Year's Model' in slightly more raw, almost demo-like arrangements ('Night Rally' is a particular standout for me). Opposingly, I love hearing the 'My Aim Is True' selections beefed up by The Attractions (the version of 'Miracle Man' on this disc is the best version available). Sure, we don't get the Honky Tonk demos, but that's why I held onto my Rhino reissue as well.
   
   I guess I should be angry at another shameless reissue, complete with four never-released demo songs ('Blue Minute', 'Call On Me', 'I Don't Want To Go Home' and 'I Hear A Melody') and a whole live show just to entice us all into buying the same material again. I can't hate this reissue after listening to the extra bonus material, and I even love the deluxe edition packaging. The only real cons to this set are the price, obviously, and the lack of any real insight from the king himself. The Rhino essays could've at least been reprinted or maybe a transcript from a concurrent interview could've been used. Now that Rhino's budget-friendly AND fan-friendly reissue is out of print, this is the definitive version on the market for those who don't already own the album, or maybe for those who never upgraded to cd in the first place.



5. Hey guys, lighten up! It's called COLLECTING, remember? Don't you remember when you just had to have that German import of "AFTERMATH", or Elvis' original Radar issue of "ARMED FORCES" because Columbia wouldn't spend the money on the deluxe sleeve? It also helps to be patient, I payed $10.59 for my sealed non-promo copy (and no, I'm not telling you where or how)! And by the way, to explain my review title, both CD's are a knock off of the Stiff Records label ("ooh, it's so cute..."). I won't regurgitate the contents, other's have done a great job (except about the labels). And don't think that Bear Family won't have a 4-disc version out in 2020....

5 comments about Greatest Stiffs.

1. Wreckless Eric at his very best. This cd contains all his hits, if you are looking for something alternative to the mainstream stuff of the 80's then try Wreckless Eric.



2. I would like to give this CD 5 stars (lets face it there were so many better records made at the time that are simply classic), but I always remember Wreckless Eric with fond memories. In the late 70's, I found a brown vinyl 10" EP burried in the back of my local record store on Main Street (remember those things?). I discovered Wreckless Eric, finding his vocals and music facinating. I subsequently bought all the vinyl released by him and just recently while filling my new Zune, I decided I had to add him. Eric created a raw, pub room pop that I could just envision at a local pub in seedy inter-city section of England in 1979. I know Wreckless Eric could never have been a top of the charts kind of artist, but for a raw pop sound that is just down right great to listen to, the late Wreckless one is worth spending a couple of bucks.



3. Coupla good songs - the rest is beneath mediocre. Should be a one-star album, but raised a notch based on the label's sense of humor....."greatest stiffs" indeed.
   
   The two good songs on this compilation can be found on much better punk-era various artists collections.



4. 2 okay songs and the rest is garbage.
   
   whole wide world, cherie and the rest
   
   
   He was famous b/c he was with "Stiff", was one of the first new wave guys, and had a drunk, doofus persona.
   
   This is not an artist for any type of serious consideration.



5. brains wit humor personality soul. great tunes. the very best of wreckless eric. what are you waiting for?

No comments about Curate a Night for War Child.

5 comments about Adam and Eve.

1. I even rebought this recently, as I had loaned it out, never got it back, and found myself badly missing it. It's worth having. But by comparison with the rest of their catalog, it ranks the lowest in my opinion.
   
   Why? Some of the songs meander (like "Broken Nose", which starts out promising but has an annoying limp chorus). Some of the lyrics are great--and some just make no damn sense, at least to me. I have a real problem with how this album sounds, as well; whether I'm listening at home on my decent stereo, my computer or in my car, the album has a curious flat quality (esp. compared to their others). It marrs a lot of the songs (witness a great song like "Delicious" ruined by said production, buried in total NOISE and truly lacking CW's trademark sonic dynamics). All the more shocking considering it was co-produced by the famous Bob Ezrin (but maybe not that shocking seeing as how singer Rob Dickinson shares a producing credit).
   
   Which brings me to the Pink Floyd thing; I love Pink Floyd too, but to see this band slavishly crib from the Floyd is a little surprising (the repeated "Hey You"'s at the beginning of every line of "Broken Nose"; the line "now there's a look in you eyes / like black holes in the sky" in "..American Mother" lifted wholesale right out of Floyd's "Shine On"; the instumental break in "Goodbye" that clearly references Floyd's "Any Color You Like"; the presence of Floyd producer Bob Ezrin; the Storm Thorguson artwork, which granted they always had). Most of these offensives are mere homages, I get it. But c'mon, this band was never like Pink Floyd and it's a little jarring, if not unnecessary.
   
   What this album gets right, it really gets right. "Thunderbird" and "Future Boy" are the high points for me. Also in evidence here is songwriter Rob Dickinson's (and the band's) ability to constantly shift the moods in their songs and make it work. I don't hear a lot of rock acts of today that are able to do that very well, and these guys did it in about every song. Top notch writing and arranging.
   
   So really, this is a four-star album, song-wise. I love this band and enjoy this record, but for the awful production, I remove a star with prejudice. Being now out of print, this one is a prime candidate for a remaster/reissue.



2. Adam and Eve is a remarkable album that should have made a major splash but didn't for whatever reason. I loved this album the first time I heard it , it just flows like any classic album from any era. I am VERY fussy with doling out 5 stars for an album but this one totally merits 5 stars. There are some anthems on here that just blow the doors off of anything that came out in the 95-98 era of post grunge soundalike bands. "Delicious" is a playful little Rock and roll classic, "Broken Nose" is like a Train barreling down the tracks on the advent of the Appocalypse , "Ma Solituda" is a ballad of utmost beauty. My fav of favs on this album is "Satelite" which to me is on of the greatest rock anthems I have ever heard. I can't bounce high enough nor pump my fist in the air long enough when listening to this gem, it brings out so much emotion in me its hard to explain.
   
   This was it for The Wheel unfortunately, tired of getting rooked by the industry, they called it a day in 2000 following the pathetic "Wishville" album.
   
   Anyone who saw them live I totally envy , those of you who bought and loved there albums like I did keep forging on with great memories of CW and fact that they deserved to be Giants in a really messed up affair known as the Rock music industry.
   
   ML



3. I consider myself a big CW fan like others that have written these reviews. While probably not thier best CD, A&E, by modern rock standards, is still a really good CD. Broken Nose, Ma Solituda, and Satellite are my favorites, and are worth the purchaes price alone. There is not a bad song in the disc.



4. I vividly remember seeing Catherine Wheel perform Adam & Eve in its entirety at The Metro in Chicago one warm August night in 1997. The sound was pure and visceral. It was the best sounding concert I have ever attended. I didn't mind the ringing in my ears the day after.
   
   Years later, this CD still resonates. Adam & Eve doesn't so much grow on you as collect in your subconscious and change your soul. At first listen, the songs don't appear to go anywhere. They seem to ebb and flow like the sea. But, the next time you listen to Future Boy, Ma Solituda or Phantom of the American Mother you may just stifle a tear for no apparent reason. The music is just that good.
   
   [DW]



5. Let's recap Catherine Wheel's work, so far: "Ferment" was superb; "Chrome" almost as good; "Happy Days" uneven; "Like Cat's and Dogs" surprisingly good for a "B-sides" album; and "Adam and Eve," well, that's more of a tough one. Other than the spectacular "Broken Nose" (more on this track below), I think it's comparable to "Happy Days." Sure, I like the chorus of "Delicious," everything but the chorus in "Satellite" (part of which reminds me of the far superior "1979" by the Smashing Pumpkins), and the melodic "Ma Solituda." "The Dreaming" could have been a really good four minute song. "Here Comes The Fat Controller" has a clever title, and alot of other reviewers seem to favor this song and "Phantom of the American Mother" ("if Superman and Sonic Youth are Fairy Tales" -- huh?). But, in my opinion, it's all rather ordinary, and blown away by the earlier stuff.
   
   The lone exception is "Broken Nose." In my review of "Ferment," I referred to "Black Metallic" as the band's "Stairway to Heaven." Sticking with the Zeppelin analogy, "Broken Nose" is the band's "Kashmir." First, I love the unique sound, starting off with that deep jangly guitar/bass combination. Along the way, there's a distorted vocal effect, church bells, a wicked guitar solo, a perfectly out-of-tune piano, and an uplifting organ fading out as the song comes to an end.
   
   Second, I relate to the lyrics. Now before you roll your eyes, let me explain. During the summers of 1988 through 1993, I shared in a house located in a well known singles scene in the New York area (Ocean Beach, Fire Island). Every year, the crowd would average about the same age (about 25), but of course I, and others I knew, got older. There were clearly those who shared for way too many summers, into their mid and upper thirties. These individuals would say over and over how the crowd was getting younger, when, in fact, they were just getting older. Of course, the males of this description kept going after females (unsuccesfully) who were a decade or more younger than them. "Broken Nose" reminds me of these guys. ("Hey you stuck in the same old cloths/ you've been in pumas for too long;" "Hey you with the serpent smile/ you've been a creature for too long;" "Hey you with the same old line in bull****/ you've been in business for too long;" "and all our friends are gone").
   
   It wouldn't surprise me if I'm totally misinterpreting "Broken Nose," but even so, I'll always love the song. As I see it, The rest of "Adam and Eve" is fairly mediocre.

5 comments about Jarvis.

1. While I love listening to Jarvis Cocker sing, I can't say this is the best thing I've ever heard from him. I do think it is an improvement from the last of the pulp albums that came out, but there is still room for improvement.



2. This is a good pop record with some decent social commentary. It does not compare to a PULP record such as "We Love Life". The music is much
   stronger on the PULP records, but I guess this is to be expected of a
   solo effort. The songs are good, but the emphasis is on the lyrics not
   necessarily the arrangements. Jarvis has a lot to say and he says it well, but I will always prefer the full band dynamic. I do like the
   "instructions" Jarvis gives for listening to the record -hilarious. There
   is a hidden track about 30 minutes after the end of the final listed song.
   Its a bold protest song that is unlike anything I have heard in long time.
   I would recommend this disc, but its not spectacular and we have seen
   Jarvis can be just that.



3. I just had to have an album titled "Jarvis". Just disappointed that it did not contain the cut "evidently chicken town".



4. I bought this album not knowing what to expect... and I completely love it. Well, I didn't 'completely love it' at first. Some of the slower songs took a while to grow on me... but I didn't give up =) I can't stop listening to it.
   
   For anyone who was expecting it to be an extension to Pulp's discography, you're kidding yourself. Don't get this expecting that. But for music lovers, I highly recommend it.



5. i, like many folks, really, really, REALLY, miss pulp. pulp was style AND substance, pomp and grandeur, literate and accessible, melodic and challenging, and jarvis cocker was its ringleader. after back-to-back-to-back-to-back (his 'n hers, different class, this is hardcore, we love life), pulp just kind of disappeared without any real fanfare and we, the fans, have been clamoring for new pulp stuff ever since (i still hold secret hopes we will one day get a new pulp album).
   
   so, in lieu of a proper pulp album, we are lucky enough to get a jarvis cocker solo album, which, truth be told, isn't that far from a proper pulp album. if i had 'jarvis' without the benefit of knowing it was a solo album, i would've sworn it was a new pulp album. this is both a blessing and a curse. a blessing because it reiterates how blindingly good jarvis cocker is as a songerwriter, performer, and frontman. he's second to no one in lyrical ability. really, dood's tremendous. he touches those subjects no one will walk within a mile of. he's not afraid to skewer anyone and everyone. but he's also not above making himself vulnerable and speak to matters of the heart. it's a curse (though not in the purest sense of the word) too, because as good as 'jarvis' is, i get the feeling jarvis is much better served when he's standing in front the sizable musical talents of candida doyle, mark webber, nick mackey, and nick banks. i get the impression jarvis works best in the band setting--when he has people to lead, to guide, and to provide the backdrop for his scathing, witty, humorous, and aticulate lyrics. the songs are great, but they drama and tension inherent to so many of pulp's best songs. could it be age has mellowed jarvis cocker, even just a bit? maybe. probably. i don't know.
   
   on its own terms, which is how it should be judged, it's a great album (i know it's really unfair to reference pulp in a jarvis solo album review. i realize it and readily admit it). even if you've never listened to pulp, 'jarvis' still comes highly recommended. 'black magic,' 'fat children,' 'big julie,' and 'don't let him waste your time' are all terrific pop songs. jarvis has lost none of his insight and cleverness.
   
   hopefully this is a welcomed (and worthy) stop-gap between 'we love life' and the new pulp album. i can hope, can't i? and if not, the hopefully jarvis will see fit to bless the world with another solo record.

5 comments about Sex Pistols - The Great Rock 'n' Roll Swindle.

1. This film comes from a subgenre very popular in the underground of the 60s-70s....the freaked out "documentary" of a band usually involving their extremely hands-y manager. A better known film very similar to this one in style and intent is "The Song Remains The Same" by Led Zeppelin, where like this film, the manager takes a prominent role in front of the cameras with their band. Neither are literal documentaries nor are they completely non fiction, but a curious mixture of both. In this case, I wouldn't feel wrong in calling it an "exploitation" flick, in every sense of the word.
   
   Some of the reviewers seemed to think/expect this was a straightforward rockumentary, so some background might clear things up. Malcolm McLaren attempted to follow in the peculiarly UK tradition of The Great Rock Manager with The Sex Pistols. This is where the manager functioned as a "member of the band" rather than merely involved in business matters and became almost as famous as their charges. These sorts of managers were involved with everything from writing songs to living with their bands/members to mixing their recordings to buying their dope and girls/boys. These sorts of managers could be the boon or bane of a rock band and end up with their hands in their pockets pretty much forever. On the positive end, these super hands-on managers could keep their kids' best interests in mind with regards to money, publishing, contracts, etc...and keep them out of all sorts of trouble, Grant and Stigwood/Forrester did an excellent job here. The bad/irresponsible/incompetent/naive/and just super stoned manager could cause them grief that lasts decades (Epstein, Kit Lambert-Chris Stamp, Oldham, etc...). I think McLaren falls in the latter category, but rather intentionally unlike Epstein, Oldham, and Lambert-Stamp. Everything I've ever seen makes me believe McLaren would have put these kids in any situation, no matter how dangerous and just plain stupid, to get attention and make a buck or quid....FOR HIMSELF. In this film, it really shows.
   
   This trend started with and was its most successful with "the Dinosaurs" as the Pistol's generation of punks called them but what we now call "Classic Rockers" and has mostly died out with McLaren being the last of the breed....for better or worse. (The most famous examples past The Beatles/Epstein are: Lambert and Stamp with The Who, Andrew Loog Oldham with The Rolling Stones, Peter Grant with Led Zeppelin, and Robert Stigwood/Roger Forrester with Eric Clapton from Cream in 1966 until the late 90s. There are others, but these are the most famous and/or successful partnerships) This manager-as-5th-Beatle/Pistol thing was a phenomena almost exclusively English, although Andy Warhol tried his hand at the role for 5 minutes with the Velvet Underground.
   
   I watched this knowing this very iffy history of UK bands/managers and kept that in mind, but still found it unsettling. The level of crass exploitation these kids were subject to is painful to watch. It's the most extreme case I know about. This is McLaren and the whole band-manager thing taken to it's most illogical and cynical extreme. It's sad to realize that he's probably still making more money off the Pistol's than any of the living members or dead one's estates for the rest of his life.
   
   If you like freaked out films and/or are a music history buff/Sex Pistols fanatic, buy this knowing some of the background and watch it for what it is.....a rather uncomfortable curiosity piece.
   
   As for the quality of this film, unless some major restoration work is done, its quality isn't going to improve between VHS or DVD. If you still have a VCR and/or are a VHS enthusiast, buy a used copy as a nice little rock curiosity. I bought this on VHS and I wouldn't have wanted to pay more than the $1 or so that I paid, so needless to say I think it's worth the smallest amount possible on either format. In other words, I wouldn't suggest spending the extra $$$ for an imported disc for this title.



2. Simply a bizarre mix of truth and loads of Malcolm BS- this documentary spoof of the Sex pistols is the reigning king of music films. Midgets- Malcolm- great live footage and Monty Python inspired lunacy help tell the tale of the rise and fall of rocks greatest thorn in the side. Sliced with entertaining cartoons of real life pistol happenings and some guerilla styled film making and scenes with a soon to be dead Sid vicious that are no doubt priceless- the fact is they dont make em like this anymore- and that special moment in time is mytholigized to near absurdity. Brilliant fun and a must for all fans of music and late 70s culture!!!!



3. This is important as John Beverly is dead for many years,watching this recalls memories of these youths in the prime of their rebellion.
   
   In these times this film seems a novelty once more.
   
   Each member of the band plays up to the camera in his own time. I couldn't pick a favorite scene as I like the whole film, but the end with the obituaries of Sid Vicious and Nancy Spungeon stand out as a sad memoir that that realize that there was Fragility behind the tough grimaces.



4. It's good to see this film finally out on DVD, but the movie deserved a better DVD release than this one -- not because it's an accurate telling of the Sex Pistols' story (it's not) or because it's even particularly coherent (it's not), but because it's an extremely entertaining and bizarre period piece.
   
   First of all, this sorta (some might say "pseudo") documentary tells the story from the perspective of the band's manager Malcolm McLaren, who is a BS artist of the highest order. Other reviewers have already laid out all the claims he makes -- he created the Sex Pistols solely for the purpose of swindling the record companies, the Pistols were not meant to have any talent, blah blah. Of course I don't believe what he says, and I'm not sure even he believes it, but it still makes for a great story nonetheless. Putting aside the veracity of McLaren's story, this movie isn't really even a proper documentary, but a random and bizarre mish-mash of archive footage of various Sex Pistols performances mixed in with McLaren's own self-indulgent babblings, animated skits, fictional re-enactments, an extended portion which follows ex-Pistols Steve Jones and Paul Cook to Brazil to hook up with notorious train robber Ronnie Biggs, and some truly weird scenes (such as the masked man who bursts into a room with a talking Rottweiler). No, it's not accurate or even a conventional documentary, but if you appreciate bizarre stuff like I do, it's quite entertaining and often hilarious.
   
   Too bad the DVD release isn't particularly good. As other people have already said, the film transfer is lame (and at least on my DVD, there are some really annoying black dots at the right edge of the screen), and there's not a whole lot in the way of DVD extra goodies. And the director's commentary track by Julien Temple is all but useless. Most directors use the commentary tracks to tell interesting stories about the film's making and to give insight on the making on the movie, but Temple babbles on incoherently more than he gives any kind of useful or interesting information.
   
   I'd recommend this DVD for people who've already seen this movie, are hardcore Sex Pistols completists, or just like the kind of bizarre underground cult films that the '70s produced scads of (other films of this ilk would include John Waters' early films or another punksploitation film "Jubilee"). Casual Sex Pistols fans might want to save their money, though. If you're looking for an informative and accurate movie about the Sex Pistols, watch "The Filth and the Fury," the 2000 documentary that was also directed by Julien Temple.



5. The only swindle here is this movie. It is a farce and a lie and a slap in the face of the legacy of the Sex Pistols. And even as a piece of fictional filmaking, it's just not that good. As others have noted, the period clips of Pistols and solo Sid Vicious performances are the only redeeming feature. But the "story" as such is lacking in so many ways; the acting and script are hilariously bad and the film transfer is simply atrocious. Buy it if you will ( on sale or used if you can ) but please don't take it seriously.

5 comments about Whale Rider (Score).

1. While I appreciate the talent and beauty of Ms Gerrard's voice, I find this "soundtrack" to be missing an essential piece, in that it doesn't contain any of the Maori chanting.



2. I'm not really a big fan of the film "Whale Rider". I have tried watching it but the film never really appealed to me. What I did like was the film score by Lisa Gerrard of Dead Can Dance fame. The DCD influence is obvious through out the album. The music is a haunting mix of ambient, classical, and world music. The songs are mostly instrumental but there is a bit of vocalization from Lisa (or so I think). The music is very relaxing to listen to. I feel like I am swimming underwater with the whales. There is nothing about this film score that I did not like. Lisa Gerrard did not disappoint me with this lovely album. Her work is always enchanting to listen to. This is how film scores should sound like...subtle and emotional.



3. A beautifully crafted album. Music for meditation, for quiet working, for contemplation, spiritual for growth.



4. This Soundtrack is very nice for people who like very quiet music, I expected more songs from the girl, but must of the soundtrack is sound..



5. This is a beautiful soundtrack to go with one of the best movies I have ever seen. Paikeas Whale, Waka in the Sky, They Came to Die, and Empty Water are worth the CD by themselves.
   This soundtrack never fails to move me. If you are a fan of Lisa Gerrards work you wont be disappointed, she comes through as usual with her soul-stirring vocals.
   Highly recommended!

5 comments about 154.

1. Wire's 'Pink Flag' is a timeless slice of arty Brit Punk. 'Chairs Missing' adds some interesting textures and melodies to their formula. 154, however, is a royal mess of an album. Sure, it's got some great Enoesque sound noodling, but let's not ignore the bloated, pretentious white elephant in the room. The album is infested with spoken "poetry" pieces that make Jim Morrison's worst rants sound inspired. And even the songs with nice melodies are contaminated by awkward lyrical attempts at self-awareness and edgy detachment. There's so much hype with regard to Wire's first three albums, but I'd say all of them are overrated. Compared to some of their contemporaries--like the effectively moody Joy Division, and the more experimentally daring This Heat--Wire just seems like middle of the road post-punk to me.
   And while the first two albums are nonetheless enjoyable, this one goes to great lengths to exemplify why Wire just isn't that special.



2. "154." What to say about this masterpiece? To be sure, I am a Wire fan. As such, I write with a bias which favors the musical product of this band. The framework of Wire's compositions are rooted in intelligence, often wielding depth and complexity from minimalistic resources. I will always hold deep admiration and pleasure for their songs, which reflect the many corridors of human thought and feeling, translating those findings into incredible music. Wire is so much more than your typical "Baby, baby." (Incidentally, I am not knocking "baby, baby" songs. They're great, too.) Having said all of that, "154" is Wire at maximum command of all their musical prowess and charisma. I recommend this album for the listener who is exhausted with the trite and overused formulas that run rampant on the radio and TV. "154" is for those who want a little something different... and excellent.



3. No other record ever made swings as widely as this one: Raw Power (Two People In A Room), Nervous Poetry (The Other Window), Euro Pop (On Returning), Glory (Map Reference) and such a force that sounds like the end of all life, yet you wish it could go on after it is over (A Touching Display). There has never been, nor ever will be, a record quite like this. To describe 154 is to photograph heaven. Lyrically and musically ahead of any other post-punk band by light years, this is the disc I would be stranded with. If you don't have it, get it now, and be ready to re-adjust your views on life.



4. A CLIFFORD HODGE REVIEW
   This is one of the overlooked classics of the post-punk era, and probably belongs on the top 20 list with NEVER MIND THE BOLLOCKS, the first CLASH album, PIL's SECOND EDITION, etc., yet it even gets underrated by WIRE fans. This has a dark, bass sound, associated with groups like JOY DIVISION, but with a more ominous-sounding vocal style. Probably darker than JOY DIVISION, SISTERS OF MERCY, THE CURE, etc., it may have been considered just too gloomy, although it is not so much depressing as it is oppressive, hammering at you more like a series of short Jonathan Kane compositions, but less repetitious, and with deep vocals invoking strange dream-like images. This should be the album for which WIRE is remembered 80 years from now. The LP on original release in 1979, contained a bonus 7-inch, but the CD has 4 extra tracks not on the LP. This is a must-have for fans of progressive punk/new wave.



5. According to AllMusic.com regarding the extra tracks: "The original 1989 CD issue by Restless Retro features four bonus tracks from an experimental EP issued with some copies of the vinyl LP." I don't know why Amazon lists these tracks on the remastered CD, they're not there.