Tony Soprano's Legacy

To put it simply Tony Soprano acted by James Gandolfini set the benchmark for characters in television drama. This in turn has had an incredible affect on the acting and drama that has followed since on the small screen. It's a funny turn of events that has led to the best acting now being on the telly and not in the movies. Me & the Mrs would watch Sopranos and say 'Can you believe this is not real?'  Tony had other characters surrounding him that were as brilliantly acted as he was. Carmella, Paulie, Christopher, Ralphy, Uncle Junior, Johnny Sac, Janice, Adrianna, Dr Melfi, Tony's mum etc. That's an incredible list of characters whose actors were so good that you believed they were real.

It was Tony's show though and his multidimensional and nuanced performance is monumental. Apart from making the Sopranos the classic that it is Gandolfini has raised the stakes so high that he has caused an unprecedented eruption of great character acting.

Walter in his Whites.

Music may have died in the new millennium so this late flowering of tv drama is perhaps how we'll remember the 00s and the 10s as the new golden age of tv drama. Who'd have ever thought that? We hardly watch tv like we used to. With our i-phones, i-pads, wiis, xboxs and computers up the wazoo does the telly even get turned on?  So this peak in tv drama has come at an odd and unstable time for tv. I'm sure downloads & dvd sales insure it occurring. In my home at least these series are consumed in seasons via the dvd. Last weekend the entire season 5 (part 1) of Breaking Bad was watched. That's 8 episodes. Right there you have some of nows greatest actors. Who can believe that Walter White is the same guy as the dad in Malcolm In The Middle? Then there's Jesse, Gus, Tuco, Hector etc. Without Tony Soprano would these characters have existed? Maybe he made writers and actors see the potential for the quality standards we could have. McNulty, Kimia, Bunk, Omar, Bubbles, Marlo, Prez, Snoop, Avon, Stringer Bell to list just a few of the unforgettable and incredibly acted characters from The Wire a show that followed in The Sopranos wake.  I didn't even realise two of these guys were actually posh British actors. This cast took The Sopranos mantle and possibly even surpassed it. They certainly equalled their standard as have others like the aforementioned Breaking Bad as well as Six Feet Under, Deadwood, Boardwalk Empire et al.

I guess Tony Soprano was a catalyst for premier acting and we all get to reap the benefits. David Fisher played by Michael C Hall in Six Feet Under is possibly my all time favourite but hang on what about Clare and Brenda from the same show? The list goes on...Nicky, Margene, Alby, Roman, Frank and Rhonda from Big Love.... Al Swearagen, Alma Garet, Trixie, Calamity Jane, Joanie Stubbs, The Doc, Charlie Utter, Mr Wu, EB Farnum are also all great characters beautifully acted in Deadwood... I can keep the lists coming.

The Sopranos and the shows that followed are going to be seen like late 60s LPs are seen by the likes of Rolling Stone and Mojo. These shows are going to be your Sgt Peppers, Pet Sounds, Blonde On Blondes  et al. They will perennially feature in the top 10s of all time, be endlessly discussed, have their order shuffled every few years and be revered as peaks of popular culture because they are.

Is The Sopranos The Sgt Pepper of telly?

Scott Walker: Prevaricator.

Enigmatic? You think?

In a recent interview by Mike Barnes with Scott Walker I read today Scott admitted being prone to prevarication. I thought I've never heard that word ever in my entire life and I've read some lofty shit and communicated with many users of unnecessary words just because they can. What was once called a showoff, you know before building ones self-esteem was invented. Now it'd be oh aren't you a clever little thing using such big words.  Anyway I looked it up and it means 'One who walks crookedly.' & 'One who departs from duty.' Now this could be taken as an oblique way of saying he's still quite hedonistic (although somewhere else in the article he said he doesn't drink as much as he used to) or just lazy when it comes to work. Or Both. I know that he is quite a keen traveller. He doesn't give much away and nor should he. Who cares what he does in his private life. Or is it part of some sort of mystique building?  I doubt it as he comes across as an affable and private gentleman. He's quite funny too as you would imagine because some of his songs are hilarious.

The above video was mentioned in that article. Wow it's dated badly or has it? Listen to it a couple of times. This could have been a subversive hit. In another dimension this is being played on Classic Trax FM. I love it. How about that quintessential 80s lead break! Now that's funny. In career overviews they always leave out a track he sang on the soundtrack of the Film To Have & To Hold directed by John Hillcoat.  Ironically it was written by Bob Dylan.

The Arrangement was done by Barry Adamson and produced by Bargeld, Jones, Harvey & Cave. I remember it being better. It must have been a thrill for those guys to work with Scott as I'm sure they are huge fans. Strange that this was recorded around the same time as Tilt. He is a massive film buff so I'm sure that's why why he did it. Not that it's bad but his head was in a totally different space for Tilt. Maybe this was the aforementioned producers projecting their version of Scott onto Scott & somehow they convinced him/got away with it.

Couldn't resist this great picture of the original
existential hipster heartthrob.

RE: Disco Inferno

DI go pop but not as we know it.

So someone said Disco Inferno experienced critical indifference in their lifetime as a band but I recall a dude from Lime Lizard waxing lyrical about them thus alerting me to their existence in 1991. In Melody Maker '91 they were described as "exploring glacial zones" on their Closed Windows and Science records. In '92 their sound was also described as "Bitter and brooding beauty.' While in 1994 Disco Inferno's DI GO POP LP was placed at no. 3 in the out rock end of year list in The Wire. I would almost say they were critical faves but I don't really know what the more mainstream press were saying at the time. The possibilities seemed endless for this kind of experimental rock (if you could call it that). When was the last time you could say that about a band performing loosely within the rock idiom? Seeing The Boredoms a couple of years ago in full giant guitar neck/percussion overload mode would have been the last time I could have said that. Swans circa Soundtracks For The Blind.  A band I saw perform once in the early 90s at The Esplanade Hotel in St Kilda called Peril also had that future's up for grabs anything could happen vibe going on too. They consisted of Australian and Japanese experimental musicians including Michael Sheridan and Otomo Yoshihide if memory serves. Anyway I dunno what happened to Disco Inferno after that GO POP classic.

One of the noisier tracks off the excellent
DI GO POP LP.

Energy Flash/Hauntology

Here is a quote from page 164 of Energy Flash: A Journey Through Rave & Dance Culture written by Simon Reynolds and originally published in 1998 but this is a 2012 edition.

'Imagine the theme music for a 50s Government film about Britain's new garden cities: serene, symmetrical, euphonious, evoking the socially engineered for a post war New Order.'

Here Mr Reynolds was referring to some of the music that Aphex Twin was making early in his career. I wonder if Boards Of Canada were reading this but didn't they already exist? or if the GhostBox crew were taking notes because it sounds like Simon Reynolds invented Hauntology 6 or 7 years ahead of its time, well the theory and subtext to it anyway. When I first heard BOC I thought shite they remind me a little of Seefeel & Aphex Twin, which to me was in no way a bad thing! I wonder if Simon is aware of this portentous quoted passage or realises his complicity in the entire idea/genre? I know he is a big fan of the whole thing and has scribbled many words on the topic via his blog and in an article for The Wire magazine many moons ago.

Tracey Pew Bass

I Haven't read the new Wire issue yet on bass but I thought I'd put my Tuppence worth in anyway. Immediately what sprang to mind was Tracy Pew of The Boys Next Door/The Birthday Party. There's a reason why he's on the cover of that HITS compilation because he was the heart and soul of the band. He drove them and without him on bass they would have been nowhere and nowhere near as fucking great!

The first one I love is The Friend Catcher particularly when the guitar/clarinet/sax(?) end up following his bassline every now and then. I could post entire LPs but I'll spare you. Mr Clarinet and Happy Birthday are much tighter and clipped but no less effective. A Catholic Skin is so good for the most part it is just one bass note propelling the song forward. Hats On Wrong is a much looser Pew and an indication of what was to come, geez he was good.

Then there's The Red Clock where Rowland S Howard does the old Ozzy Osbourne trick of following his vocal melody with whatever Toni Iommi guitar is playing (or was it the other way around?), except with Rowland's vocals it's to Pew's bass.

King Ink is possibly Tracey Pew's finest moment of bass glory. It's just so fucking grimey, muck is pouring from his fingertips. Human Skin and electricity fusing for a pure expression of filth. How does he keep playing that bassline amongst the rest of the shitstorm that is going down in this song.

Zoo Music Girl's bassline is just dirty funky fun for all the family. I could go on. Tracey Pew's bass on Nick The Stripper and Figure of fun are killer. 

Lastly there's Yard off Prayers On Fire. This is fucking incredible. Pew plays the bluesiest and most lonesome bass I've ever heard in my life. I think it's the only time he ever played double bass on a Birthday Party record.                                                                            

The Wire magazine. What happened?

1993 was the year. Melody Maker and NME had been slowly starting to shit me from like 91 onwards. There was still good stuff happening over at Melody Maker at this time but it was starting to diminish. Maybe my tastes were changing too.......anyway The Wire was good because it was covering interesting (ie not this weeks fashionable pop group) stuff the weeklies were starting to ignore and they didn't have that kneejerk criticism/create a new scene every other week/backlash the next week blah blah... of the weeklies which was incredibly liberating at the time. The Boredoms, West African Tapes, Edgar Froese, Miles Davis, King Tubby, Mouse On Mars, Gamelan, High Rise, Method Man, Casper Brotzmann, AMM, Jungle, Tricky, Eddie Palmieri, Ambient, Thinking Fellers Union Local 282, Gunter Muller, Omni Trio, Prog Rock, Nirvana all rubbing shoulders together. This seemed quite rad at the time and perhaps it was. We might be a bit used to it all now in this post everything world. So for many years it was an essential read. All through the 90s it was great, but somewhere in the 00s it became less essential. I guess it didn't matter that much as music criticism on the blogosphere was peaking at this stage. Who needed to buy a magazine made of paper? How archaic!

In the last couple of years it seems to have picked up a bit though and there was always something to make you still at least check every month if there was something good in there. A Simon Reynolds article will get me in every time. Recently they covered Turkish Psych which maybe they usually would have done 10 years earlier when modern Turkish groups like Replikas and BaBa Zulu were making an impact on western audiences. Are they starting to repeat themselves? Scott Walker and Kraut/Kosmiche articles recently which were both covered extensively 15 years earlier. Old school NME narrow mindedness/bitchiness also seems to have kicked in as well as substandard journos who've got no fucking idea.

Nick Cave cops some knee jerk turds criticism for some of the greatest lyrics ever written.

An excerpt from Palaces of Montezuma by Grinderman

Psychedelic invocations of Mata Hari at the station 

A custard coloured dream of Ali McGraw and Steve McQueen

The spinal cord of JFK wrapped in Marilyn Monroe's negligee 

So Nina Power you look like a fool. In the same issue from September 2010 Nina's colleague Sam Davies calls electronic pioneer Bruce Haack dull. Guess what Sam you're fucking dull. Bruce Haack was a brilliant pioneer. Sam what did you pioneer? Being a dull music journalist pretending you've got something to say but really only being a try hard. Guess what Sammy that's been done before too. Tedious slagging was never part of The Wire thing so this is disappointing. Don't get me wrong I love a good slagging when it's smart, funny and justified. Mr Abusing/Agreeable anyone? Then they pulled the ultimate NME move in slagging a genre/movement they invented or at least identified and named ie Hypnogogic Pop. Time to move on I guess.....Simon Reynolds has an article in the bloody new one though.....