It tolls for thee, eventually.
It tolls for thee, eventually.
They were showing Shine A Light in the park tonight on one of those big blow up screens, and, it turned out to be a fantastic sound system. Nothing better in the middle of a heatwave to see the Stones outside in somewhat cooler air.
I thought I’d seen the movie before but I was wrong. The nexus of Stones and Scorcese had someone how slipped past me.
Here’s the review. If you like the Stones, you will like this show. The songs are arranged a little differently, but the rearrangements are astute and advantage all the supporting players, so the front guys can play their rote parts, hit their marks with passion, and even if the ravages of age a little apparent, make us forget that this is 50 years later. It’s a great performance.
In the middle of the show Mick hands off to Keith for You’ve Got The Silver, which is a terrific tune that advantages Keith’s game but less than full voice. And then, surprisingly, the show move on to Connection, one of the oldest songs they played, one of my favorites from Between the Buttons. This is a pop hit that has a more insidious pop hook than the overt grabbers of Satisfaction or Get Off My Cloud or Paint It Black, and was never released as a single, so was never a hit.
But it lives on. Scorcese obviously understands the limits of a non-pop historical song from an audience perspective and uses that to glide into Keith interviews when he was young and when he was old. Good stuff, all, but it diverts our attention away from the performance, which is remarkably winning in spite of its limitations.
I particularly like that dynamic, so I wanted more of the performance, but what I can share is this Italian version of the song and intercuts. I hope it suffices. By that I mean, I think this is fun.
Cute video making its way around the way things make their way around today.
BOSS BABY! Nicholas is only 2 years old, but that doesn't stop him from knowing every word to Bruce Springsteen's "Glory Days!" pic.twitter.com/7k394M3Iow
— Eyewitness News (@ABC7NY) May 11, 2017
No doubt, this song is hooky as heck, and I think the two year old gets it right. When asked to sing “throws that speedball by you, makes you look like a fool,” the tyke seems a little nonplussed.
Either he knows that a speedball is a shot of half heroin and half cocaine, or…
He knows no one in baseball calls a fastball, even a hot one, a speed ball.
Here’s what Paul Dickson says in the Baseball Dictionary:
speedball n. the fastball
Alright, okay, maybe I’m wrong. But I’ve never heard anyone ever call a fastball a speedball. Except Springsteen. This has always struck me as one of the jankiest lyrics by a guy who usually gets it right.
Jonathan Demme’s life is rightly noted for his versatile and diverse talents and interests, though his love of music seems to be the unifying connection between his genre films, documentaries, blockbusters, and humanitarian work. I liked much of his oeuvre, maybe not as passionately as some, but I admired his restless and generous life. And when I heard the news I thought of this, as I’m sure did many:
My buddy Rael was going to be in town on Friday, and the Tribeca Film Festival was premiering a new movie about PiL and Johnny Rotten. Neither of us were big PiL fans, but this seemed like a fun date. I bought tickets.
Fast forward a few weeks, and Rael is sick. He can’t come into town. So I call my musically adventurous friend Julie. I know she is not a PiL fan, not a Sex Pistols fan, but I’ll have fun with her in any case. Plus, it turns out, there will be a discussion with Lydon/Rotten after the screening. More show biz!
We both order fish and chips at the venerable Tribeca institution, Walkers, and the fish is great, the cole slaw is fine, and the chips are very tasty. That’s a win.
Here’s the deal on the movie, in a few short bites:
If you love PiL you will chew this movie up with delight. It not only fetishises each version of the band, it exalts the Rotten process. Your taste is reified.
If you come from a more historical perspective, the movie does a pretty fine tick tock of the whys wheres and wayfores of the band over a long career.
If you enjoy watching John Lydon sing PiL songs, there’s lots here for you.
If you enjoy watching John Lydon talk about his life, there’s a good amount of that for you.
If you were an observer of PiL, and not a fan of the music, I think you might find a lot of fun in the music. More than you might expect. Less in Lydon’s memorable vocals than Wobble’s bass, Levene’s skronky guitar, and the similarly discordant and yet powerful music all the iterations of this band made.
So, there’s lots to like about the movie, but when you think about it as a movie, it starts to pale. This is a movie that seems to get Johnny Rotten talking emotionally and revealingly about his life. It’s a movie that chronicles many internecine wars among the various configurations of PiL. And it is, most tellingly, a movie that buys John Lydon’s version of the story.
Lydon’s version is a good story, but all the other voices in the film have other stories. And they’re allowed to tell them up to a point. That’s the point where Lydon/Rotten decides to drown them out.
What I’m describing is not an indictment. Rotten/Lydon, in the post-screening chat, talks about how he aspires to be a valued songwriter. He is saying he doesn’t think he’s there yet. He’s right about that, and wonderfully honest to admit it.
But the history of PiL the film describes is the arc of moving from talented and disorganized non-professionals to, over 20 years, the hiring of professional musicians who can actually play. And then marvelling at how everything got better.
And in many ways it did, but what seems to me most revealing is how all the aesthetic challenges disappeared once the band was competent. And this idea of competent musicians versus energetic amateurs is an invigorating discussion for everyone, but the movie glides over the issues.
It’s easy to see why, but without a discussion about talent, expression, experience, professionalism, talent and creativity, plus other stuff, I’m not sure how much what they produced matters.
I love PiL, I went to the screening tonight, because of this appearance I saw one morning in 1980 on American Bandstand:
Read about these guys in a magazine. I like this song. The Amazon reviews are great. The singer appears charismatic. I’m a sucker for a Flying V. And bluesy-ness.
What is this? It’s got a groove, seems to be taken apart until it comes together with the horns, and is cute and a joke and a good tune.
Last April The Biletones went into the studio to drop down five tracks for an EP, and while we were at it, a friend of the band, Andre Welsh, who does camera work in Hollywood, agreed to video the band in action. It was kind of fun and intense, but also ugh city.
As in for the Route 66 video, we played the song 11 times so the film crew could focus on different aspects and players during the song.
The four remaining tunes we played were It Takes a Lot to Laugh (check out Steve Gibson’s killer solos), It’s All Over Now (I sing lead), Don’t Cry no Tears, and lead singer Tom Nelson’s Rich Girlfriend. Do click to the third cut and check out Girlfriend. It is one of our strongest tunes (it is third on the playlist in the upper right corner of the Route 66 vid).