The Misfits were always a refreshing alternative to most hardcore punk bands. They could play as fast and as tough as any band and they rode the psychotronic film imagery like no other band save the Cramps. But the Misfits’ songs had real harmonies and melodies. In my opinion, the Misfits’ secret influence is the Shangri-Las. Slow down any Misfits song and it sounds like early 1960s Shadow Morton/Phil Spector produced pop. This is my favorite Misfits song, but not my favorite version. That version can be found on the first Misfits collection CD. However, what’s here is still pretty cool. Contains one of my all-time lyrics: “I ain’t no goddamned son-of-a-bitch!”
Southern California punk legends Agent Orange with the title track from their exquisite 1982 mini-LP “Living in Darkness.” Agent Orange were a heavenly combination of the Ventures and Blue Oyster Cult, but with punk speed and attitude. This song and album was on constant replay during 1984-1985 and is still a stunner to this day. Makes me want to ride up to the 7-11 on my skateboard and get a Big Gulp. Though I realize that a 40-something guy on a skateboard whose name is not Tony Hawk isn’t cool … just creepy. So, maybe I’ll drive.
Kathryn Bigelow has always been one of the most exciting directors around. It’s nice she’s getting some acclaim, box-office love, and Oscar nominations/wins to boot (“The Hurt Locker,” “Zero Dark Thirty”). However, one of her most underrated films is 1995’s thriller “Strange Days.”
Produced by Bigelow’s ex-husband James Cameron, “Strange Days” is one of those films that makes you think, “Man, that was soooo 1990s.” Not only for the flashy visuals and maximum volume / intensity action and violence, but also because the film takes place in the days right before Y2K. And as such (given millennial fears), the film shows America on the verge of a social, economic, and racial apocalypse (not entirely inaccurate).
The film features Ralph Fiennes in the lead as a sort of virtual reality drug dealer, selling lifelike virtual reality experiences of illicit and sensual pleasures. However, like any drug, the virtual reality experiences can sometimes be addictive and people find themselves slavishly addicted to “playback.” As the film unfolds, there’s elements involving “snuff” clips (people being killed for the purpose of making a virtual reality user experience murder), assassinations, and political/legal corruption.
A lot of this is very melodramatic and sometimes laughable (it’s always interesting to see how older filmmakers and storytellers envision a future we’ve already lived through). But what’s most amazing is in how much it predicted: the deaths of Tupac Shakur and Biggie Smalls (and ensuing conspiracy theories involving the LAPD, record label moguls, and rival gangs), the addictive nature of an internet life (as seen with people – mainly in Eastern countries – who have literally died playing multiple hours of video games at a clip without rest), the addictive need to watch more and more disturbing imagery (because it’s only a click away, remember), and how we all are just a significant event away from mass chaos and confusion (i.e. Katrina).
“Strange Days” may be flawed, but even nearly 20 years later, it’s still an undeniably exciting film. The acting, from Fiennes to Angela Bassett, Juliette Lewis, Tom Sizemore, Vincent D’onofrio and Michael Wincott, is excellent. I had the privilege of seeing “Strange Days” the day it opened in October 1995 on a huge screen with a very loud (and then novel) digital soundtrack … and tellingly, only 2 other people in the audience. This is a film that seriously needs reevaluation, along with a deluxe Blu Ray edition that takes full advantage of the medium.
One of the most fascinating, bizarre, creepy, and sad documentaries I’ve seen recently is director Nick Holt’s 2007 BBC documentary called “Guys and Dolls” (or as it is also known, “Love Me Love My Doll”). The documentary is about the growing popularity of “Real Dolls,” which are realistic sex dolls made of silicone, PVC, and steel. Their individual cost is in the thousands, but for some men, the cost is miniscule compared to the physical and emotional companionship these dolls provide.
Despite the sensationalistic subject matter, director Holt handles this material soberly. While “Guys and Dolls” looks at the manufacturers and repairers of such dolls, the film mainly focuses on four Real Doll owners. Despite the fact that their individual psychological quirks could fill volumes, the film doesn’t make fun of the doll owners. Two of the four men come off as otherwise decent people, albeit with a lot of social problems which has led them to find companionship in an artificial being instead of a human one. However, the other two individuals do come off as genuinely creepy and it’s not a shock to realize why no woman (decent or otherwise) would go near them. There’s one scene towards the end where one of the gentleman introduces his dolls to a woman he’s dating and watching this scene unfold is undoubtedly more hair-raising and uncomfortable to watch than any horror film.
The full documentary is available at the link above.
“I’m Not Sayin'” was an early pre-Velvet Underground single cut by Nico for Andrew Loog Oldham’s Immediate Records in Britain around 1965 or so. It’s pretty boss mid-1960s folk pop with some great acoustic strumming by none other than Jimmy Page.
Nico’s version has a certain hip cachet these days, but not many people realize this is actually a cover of a Gordon Lightfoot song that was a hit in Canada the same year. The Lightfoot version is also highly recommended and included here as well.
Nico’s version of “I’ll Keep it With Mine” from her 1967 “Chelsea Girl” album is one of my all-time favorite Bob Dylan covers. The acoustic guitars and strings that permeate the song (and album) make this a great rainy afternoon choice.
Slammin’, concussion-producing, metallic blues one year before Led Zeppelin’s debut. It’s songs like this that make you lament the direction Rod Stewart went from the mid-1970s until today. Until that time, Stewart was one of the finest (if not THE finest) rock vocalist of the era. This cover of Willie Dixon’s blues classic was also put to great use in Martin Scorsese’s “Casino” when the casino boss played by Robert DeNiro and his crew zero in on a scam taking place out at the tables.
In its entirety, here’s the 28 minute long form music video French pop legend Serge Gainsbourg created for his mini-rock opera “Histoire De Melody Nelson” back in 1971. Visually and aurally light years ahead of it time, you can smell the whiskey and cigarette smoke through the screen. And because there’s lots of nude artwork throughout the piece, this is not safe for work. The woman playing Melodie was Ganisbourg’s then-wife Jane Birkin. Gainsbourg and Birkin’s daughter Charlotte Gainsbourg is now a respected actress, who won the 2009 Best Actress award at the Cannes Film Festival for her intense role in Lars Von Trier’s “Anti Christ.”
From Ken Russell’s wonderfully bats–t crazy and psychedelic visualization of The Who’s rock opera “Tommy,” is Tina Turner’s wild version of “Acid Queen.” Even wilder was that both David Bowie and Lou Reed were considered for the part eventually played by Turner. Due to heavy drug and sex references, not safe for work. However, I should note that this was a PG-rated film back in 1975. My how things have changed.
Lou Reed’s “Perfect Day” has many interpretations. The beautiful melody and instrumentation does lead one to believe this is a love song. Though, the last line “You’re going to reap just what you sow” is extremely eerie. Some people think this is a song Reed wrote about his relationship with his then-wife and his internal conflicts with his sexuality, drug use, and ego. And that interpretation isn’t without merit.
However, many people (me included) believe “Perfect Day” is actually about Reed’s love/hate relationship with drugs. The lines “You made me forget myself,” “I thought I was someone else … someone good,” and the last line mentioned earlier really hammer the point home.
Director Danny Boyle seems to be in agreement with the 2nd interpretation and brilliantly used “Perfect Day” in his 1996 film “Trainspotting” for the scene where Ewan McGregor’s character OD’s. It’s a particularly unnerving scene not only for the visuals, but because Reed’s song is so beautiful-sounding, it makes what’s happening even more tragic. One of the best uses of pop music in a film ever.
Dave's Strange World 