The aforementioned lion played me a song and I assured him that I knew it. However, it wasn’t that song at all and was in fact this song and that was entirely his point. My initial reaction was to assert that it should have been The Andrew Oldham Orchestra suing Ashcroft, as it was their cover of the Stones ‘The Last Time’ that so heavily influenced / was directly sampled for ‘Bittersweet Symphony’. After all, that version is keenly different to the original. Once I’d through about it beyond a knee-jerk reaction, we both agreed that the licence must remain with the original artist who’s work has been covered. As it turns out, there had been an agreement of some sort beforehand and the production company presenting both the orchestra and Mick & co are one anyhow. These things can stretch on for years but it looks as though they’ve finally deigned to let him have it which was always going to be the classy move on their part. After all, what’s the point?
As was foretold, there is more and this time it is fully present in dat Ilford tone. Here, in black & white, there is definitely a Newton thing going on and I’m okay with that. Those hi contrast tones and that wonderful gradient you get out of the 400 are all on show and were pretty well suited to what I wanted to get out of a fairly impromptu shoot. If anything, I wish I had shot more but then that’s always the trick with film and part of the reason I think many of us are so in love with the format. There are certain fundamental constraints in place that restrict or limit one’s options to a degree and thereby curtail our worst impulses to shoot gratuitously and without purpose. There were a couple of other shots that didn’t quite make the cut and that’s most likely always going to be true. I was fairly sure that I had the ones I wanted and I almost certainly got the three I needed to be happy with an hour’s work. Mr. V has a couple of headshots from that same reel and so those might be next. There are also one or two excellent ones of Aslan from that town most affectionately known as SUA so, you know, we have options.
I think it was Brooklyn beast, Ivan Berko who originally queued me onto Cologne rockers, Can and I’ve been digging ever since. If you fancy heading down that psychedelic rock/funk/noise hole then you should almost definitely start with ‘Tago Mago’ (BROM / United Artists Records, 1971) and try your level best to conduct your journey under the right conditions. This is a first UK press and it’s about as close to perfect as you would want it to be. Time has been kind to the packaging and the sleeve has a wonderful patina to it that I wouldn’t risk by inserting the media within. As such, I’ve kept it in its individual components with cardboard package backing on shelf and that’s how it should be. It still plays deep and ‘Halleluhwah’ and ‘Aumgn’ take up the entirety of their respective sides with super chill ease. The introduction to ‘Paperhouse’ is probably one of the most recognisable album openers of the genre from that period and you know you’re in for a ride. I had this copy shipped from a tiny little record shop in New York - one of a number of potential reasons that would make me want to live there - but there are other specimens out there in the weeds, should you wish to hunt. Technically, this one can be yours, if you really want it, ‘though there is a part of me hoping to hold fast, for a little longer yet…
The new Fantasy issue of ‘Popshot Quarterly’ is out and I have been exploring it piecemeal on short walks though the many tiny parks of Planet Marylebone. Autumn feels like it’s on the horizon [so long summer] and this is a perfect light read for some solitary bench time, with the first, few brown and yellow leaves skittering over pathways and a temperate forecast that makes an easy canvas for introspective moods. They kicked this one off with a wonderful quote by GOT Overlord, George R. R. Martin and so I knew that I would find sustenance within. There’s a plethora of poetry and great, broad spectrum fiction pertaining to fantasy and as you can see, my copy has been much noted. Beth Lincoln wrote a wonderful Anglo-American variant come sequel to the whole ‘Cross Road Blues’ thing with her short story, ‘Are You Lonesome Tonight?’, Andrea Holck has a ‘Side Gig’ in foot fetish that is totally not autobiographical, and ‘Xander Wears A Lovely Leather Jacket’ by Stephen Daultrey has a certain…perfume about it.
Elsewhere, Florianne Humphrey throws mad shade at The Orange Man by way of Carol’s ‘The Jabberwocky’ (this is a must read if ever there was one), Graham Bailey & Kell Kitsch combine forces for a different point of view on the ‘Three Billy Goats Gruff’ and ‘The Change’ is one of the best tellings of the women wot has tails that you’ve yet to consume. I’d be doing a massive disservice to fifty percent of the creative talent on show, were I not to highlight just how beautiful the illustrative work that accompanies each piece is. Popshot offers just as much delight for the eye as it does for the brain, heart and willing tongue. Check out Abi Steven’s rad fucking Tarot card, paired with ‘For The Splendour With Which She Shines’ by Dr. Jen Lua Allan and tell me I’m wrong.
I have been to his lair and heard things. Wonderful things. Mixing is in progress and he’s got it dialled in every bit as much as I had ever hoped for. It’s loud. Perhaps we can talk a little more on the subject next week, possibly with some sort of accompanying audio-visual component? As we say: Behave.
And if you can’t behave…
JD - TACOCAT