Interplanetary hunting continues apace with my good friend and avatar, IG-89 and our loyal companion, Salacious Bomb. I chose to be a Jakobs specialist for this play through and have been richly rewarded for my loyalty by no less than the big man himself…or his grandson. Their products have a quality and a heft to them that I am partial to but if you are familiar with the previous antics and persuasions of this office then you shall already know this to be the case. I have heard tell that they are not the most caring of employers, nor the most effective of organisations. There are problems and we may, quite rightly have questions but it’s made far more difficult to care when wielding such effective, deadly instruments of destination.
The Who’s ‘Live At Leeds’ (Polydor, 1970) was the first live album by that band, recorded live [naturally] at the University of Leeds Refectory on Valentines Day. Actually, it was the only live offering released with the still active lineup of Roger Daltrey, Pete Townshend, John Entwistle and Sir Keith Moon. It’s fantastic. Let’s get that out there. Covers of both ‘Summertime Blues’ (Jerry Capehart & Eddie Cochran) and ‘Shakin’ All Over’ (Johnny Kid) are strong on side 1. ‘My Generation’ on side 2 is a tour de fucking force. It’s easy to forget sometimes, when listing only to the studio record output from The Who, that they were a brilliantly heavy rock band. I can’t necessarily tell for sure from this recording, just how loud the guitar was but my spidey sense tell me it loud.
It’s also a stroke of genius - the packaging, cover, artwork and inserts made to facsimile a manager’s bootleg copy - receipts, correspondence and all. It might just be the greatest live, heavy rock ’n’ roll recording of all time. It appears that only nine of the original inserts are included with this copy and we are missing a photo of the band from the ‘My Generation’ photoshoot, lyrics for ‘Listening to You’ (taken from their first album, the rock opera ‘Tommy’), and a Pete Townsend poster, complete with a whirling eye Rickenbacker. It does however, include a notice before county court proceedings, from Jennings Musical Industries to their manager at the time, Mr. Kit Lambert, for outstanding goods (one guitar case & one Vox piano bass) to be returned on or before the 10th of March, 1965. No, I doubt it.
There are some nice 35mm shots today, that I took while at home in parent land. Ye olde church organ is an easy one to pick, although I have a second taken inside of that place, perhaps of Scandinavian partitions, booths of some description or pews of an unconventional orientation. It might be confessional in nature and/or purpose. You can decide and I hope you find peace there. Josh Homme’s long-lost sibling makes an appearance in another Brick Lane Sunday market shot, as well as one of a man with an umbrella for a head. I’m sure I’ve said it before but shooting from the back of those stands, through to the front, unearths the most wonderful hi-contrast characteristics of Kodak’s film. The love affair continues. That snap looking out the door of The Pride is a a similarly great example and I would like to think that Lenny would approve. Let us ascend the stairs at Kafri and don’t fret too much about it, we’ll be back there very soon with a whole bunch o’ noise and still life, as well as some not so still and sentient things. “Woot” is a word and I use it wherever possible.
Season two of ‘Disenchantment’ is more of the same and deeper in addition. It is weirder, wackier and gives less of a shit than ever and there is ample evidence that this vision is coming into its own with rapidity, after a first season that had a tendency to drag in areas. Please don’t mistake me, I was a fan of the first season, it’s merely that humour has a great deal more to do with what exactly makes the show tick this time and it is a far more character driven affair, with notable performances by Abbi Jacobson as Bean, and her father, King Zøg - played by the brilliant John DiMaggio. The fiery pits of deepest Hell and a lonely, twice abandoned castle of stone give both characters time to shine so brightly in their respective episodes, and there is an epic turn by Eric André as Luci demon cat. Locale varies too - the streets of Steamland being reminiscent of Bioshock of all things […yeah, okay] - providing as much eye candy as questions as pop culture commentary.
As a series, I think it’s fair to say that it’s at its best when it embraces the “anything goes” nature of the Simpsons or Futurama and not at its best when it tries to be ‘The Dragon Prince’. That’s not to say that it can’t have through-threads, emotional depth or that it can’t tell a story but it is perhaps a longer length format wise than that team has worked with historically and it does drag at times. All that aside, they seems to be closer to embracing the platform provided by Netflix and Groening’s B+ is better than the a great number of other creators’ A*. And that ending. This season of ‘Disenchantment’ improves upon the foundations of the first, stepping strong to the plate laid for it by ‘The Simpsons’ and ‘Futurama’, earning its spot on your Absolutely Worth A Watch list with surety.
I got them young man blues.
JD - TACOCAT