Na szóval, ezt a klipet Kathryn Bigelow rendezte, aki ugyanabban az évben csinálta meg a Near Dark c. filmet (aminek nálam az a relációja a Twilighthoz, mint a Secretary-nek az ötven szürkéhez). Egy évvel korábban jött ki az Aliens, attól a James Camerontól, aki később feleségül vette, és a két film ugyanazon a 3 színészen osztozik: Bill Paxton, Lance Henriksen, Jenette Goldstein.
Hát, lehet, hogy a MC úgy lett inkább elektronikus (és kevésbé gitárcentrikus rock), hogy Barney megint a Kraftwerkből és a retró diszkóból repetázott?
"Two steps forward, one step back, I'm waiting for your will to crack Make a sign that I can see, tune into my frequency Take me to another place, help me win this human race [...]
I'm your automatic lover, show me what I have to do" (Unlearn This Hatred)
Vö. "Radioactivity, tune into the melody" (Kraftwerk: Radioactivity)
Kínai BLT szendvics: "remade into Chinese with the Cantonese version by Amanda Lee and the Mandarin version, by Sandy Lam, both under the title of "一個人 / Yī Gè Rén" ("Alone")."
Mit találtam! :) Egy kis manchesteri humor (a felkonfok helyetti beszólogatások, közönségbosszantás és egyebek a '82 és 2006 közti NO koncertekről, amiket egy jótét lélek kigyűjtögetett és még átirat is van, ha valakinek nehezen áll rá a füle az akcentusra). Sírok :)))
Steve Levine tavaly december másodikai visszaemlékezése sajnos már pont nem hallgatható vissza, így csak emlékezetből: a Bigmouth Strikes Againben hallható torzított vokál kapcsán Johnny Marr beszélt arról, hogy az volt a kivételes alkalmak egyike, amikor a Smiths (akik elvi okokból, konzekvensen ragaszkodtak a gitárhoz) mégiscsak az új technikát is használta. Mert hogy, mondja ő, azt még nem tekintették csalásnak, hiszen ha úgy is hangzott volna a végeredmény, mint a Kraftwerk, na akkor számított volna csak az a szemükben elektronikus zenének! (És itt nyert értelmet, hogy egy korabeli dokumentumfilm tanúsága szerint miért Kraftwerket hallgat az Electronic a stúdióban...)
Thomas Dolby szerint a BM ironikusan nagyszerű, de Tony Wilsonnak is megvoltak a saját teóriái...
(The Great Bleep Forward 2/4, 20:30 táján) "(Andrew Collins, a műsorvezető) The DX7 was incredibly popular and adaptable. In the eighties, every pop band had one; and as a consequence, every band started to sound the same as every other pop band. As the manufacturers began to discover, familiarity bred contempt. (Dr Simon Emerson) They once did a statistical examination of all the machines that were returned for repair, and some amazing figure, like ninety percent of them had never had any presets altered. And they were just used as taken out of the box. (Collins) Electronic music was just getting too easy, and it was all getting a bit dull. Thomas Dolby recalls that it took a group of Mancunians to shake things up again. (Dolby) The turning point, and the beginning of, sort of, modern era of electronica, oddly enough, was brought about by New Order. Because it's hard to see now in perspective, but when they came out with something like Blue Monday, it was actually a very rebellious thing to do. Because it almost harked back to the sort of electronic disco era of Donna Summer and some of those throbbing basses, and believe it or not, that was very gauche of them to do that at the time. To go ahead and do that boldly, and just make a statement, saying: 'It's pop. It's crap, but it's brilliant.' Really, it brought about a new era in the culture of pop music. (Collins) Factory Records boss Tony Wilson thought it all began a little earlier. (Wilson) The first track is actually Everything's Gone Green. And Martin Hannett produced that track. My image of this is, Bernard watched him and learned. And then Bernard does Blue Monday. If you look at Bernard's other tracks from that time, they all had that same feel, you know, the dawn of techno."
Ugyanitt (a Regret után) Pickering szettje csupa '88-as és '89-es számokból* (vagyis amilyet akkoriban adott volna le a Haciendában) 1: 38-tól, illetve itt külön.
*T-Coy: Carino, Mr. Fingers: Washing Machine, Joe Smooth: Promised Land, Hashim: Al-Naafiysh, FPI Project: Rich In Paradise, A Guy Called Gerald: Voodoo Ray
Radcliffe és Maconie december másodiki műsorában 1:08-tól Mike Pickering a Haciendáról és arról, milyen volt az élet '89-ben:
"It was very blissful. I lived above the Arndale Centre (?) ... from Cromford Court (?). It was amazing... we had a huge balcony.... a huge balcony, which every Wednesday and Friday, after the house was a party balcony. I remember for a time, 'cos, you know, when this Strangeways prison riot was on, and they were all on the roof, we faced that! So it was great. We used to, like, Morse code and wave flags at each other... well, they were... they did blankets with a crude painting on. But we did something a bit more acid house and it was great."
"I did Wednesday and Friday. There'd always be a gig somewhere else on a Saturday. Thursday, used to be a lot of gigs in Blackpool, actually. Great gig, so we used to be a convoy of cars from Manchester to Blackpool every Thursday. And in the early part of the week, I was doing lots of remixes with Graham Parker (?) and I doing ... everyone wanted their record remixed, which basically in those days meant, take about three or four words out of the song, out of a rock song, and make a completely different version. But, um, yeah, so it was really hectic. It was... we did all our remix in Derby, so Monday, Tuesday, Wednesday we'd be in Derby and then zoom on on a Wednesday day and... Sunday evening was the only time I had and I was in the Dry bar then."
"We did Wigan Pier... there was a rave on there..."
"Apart from the Hacienda, well, the thing was, you know, I mean, it's well documented, and Tony Wilson didn't want to do a dance label. So... I had the T-coy record, which is kind of the first British house record, I think, and... no one would put it out, and... all the pirate stations around that time, which, like KISS (?) and all which are now a normal station, they were all playing it, the cold cuts (?) and Norman Jay (?) and Stu Allen (?) was here championing, and... I couldn't put it out. So I went around and started our own label, me and two other guys, P. Artfield and Keith (?) started Deconstruction. And it was... it was kind of weird really, 'cos you know, we were signing records that... that are off my dance floor, like Black Box, you know. I remember when Danielle (?) from Black Box came in, with, I think, a cassette? So I had to play this A&R talent guy and had to listen on the FR (?) and I was like, wow, this sounds amazing! Played it and the whole place went up. So we were getting number one hits, and big hits when really, it should have been Factory. And then they went bust, didn't they. (Maconie: "It's almost as if Factory were a perverse group of people.") Yeah, we were. ... You know what? Tony was one of the nicest people. Every time we had a number one, I'd get a bottle of champagne with a balloon tied to it, to the flat in Cromford Court, which was amazing."
"Well, I bought (??totally ax??) for the Hacienda, that was my job and DJ's and... Madonna, yes, she always for years said that she'd never been to Manchester, well, you were on Channel 4, love, we have tape. ... The Friday night got quite big before that, but it was a very different kind of night, it was like... I was playing lots of different stuff from reggae, salsa, Northern Soul, everything. And then all of a sudden, when I discovered house, I always said that in that... in early 1988, it was like from where I was stood in the balcony, it was like a Mexican wave, and how the crowd changed from the far end where the plastic things were, where you walked in, to the bar, over about three weeks. Everyone changed. The way they danced, their appearance, the way they reacted to records... it was just 'cos of those little... tablets. (Nevetnek.)"
"Well, it's identity clothes, remember that? ... Stanley on Oldham Street (?), he was, like, the leader in all that way, but it was fantastic T-shirts with 'On the eighth day God created Manchester' and the one I loved was 'Jesus had long hair' with the picture of Jesus on the front. 'Cos, we used to get, you know, funny looks when we were checking in... hotel receptions and you just open jacket and... But yeah, he kind of had... It captured the moment, really, of the clothes, I suppose. (Maconie: "So you felt really with Manchester and the Hacienda, you really felt you were at the centre of something.") Yes. Very much so, and especially by the Madchester thing, which was, like, '89... and being in Manchester and living in the centre, I remember for a good while, we were just invaded by film crews from all around the world, it was bizarre. ... I was funny, really, 'cos a lot of the different crews didn't really understand what was happening here. 'Cos I remember being interviewed for a Japanese TV and they were saying to me, 'How do you find Manchester... Madchester records to play all night at the Hacienda?' and we were like, nah, nah, nah, we play records from like, Detroit and Chicago and England. They didn't get it until they came at the evening time and they stood live with their chins on the floor and staring at everyone. They didn't see the tie-up. Well, you know, obviously, with the Happy Mondays, I mean, getting Paul Oakenfold and Steve Osborne to produce that, it was kind of a mix of (??NP??) music and dance music... what we were trying to do."
Ez a másik pályamű, amit linkeltél, tényleg jó, ötletes (és most végre kihallottam, hogy mindezidáig rosszul hallottam a szöveget: "this time I thought it would be eternal"...)
A hivatalos(sá lett) klip se rossz, tetszik a munkásosztálybeli környezet és szereplők, de valami minimális szereplése a bandának, az nagyon hiányzik belőle. Egy poszter legalább, vagy valami.
