Nacho Video
Nacho Video
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Just a fan, making videos for other fans. Hope you dig ‘em!

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David Bowie • Space Oddity (2019 Tony Visconti Full Length Mix) • 1969
David Bowie • Space Oddity (2019 Tony Visconti Full Length Mix) • 1969
3 days ago
David Bowie • Space Oddity (2019 Tony Visconti Full Length Mix) • 1969 • This video is a new edit and sync, of the 1969 Swiss TV Hits a-Go Go footage, cut to the new 2019 Tony Visconti Album Mix of the original 1969 version of Space Oddity. • Space Oddity is where I entered the Bowie Universe. It was one of those omnipresent radio songs throughout the ‘70’s that must have been lurking in my sub consciousness. Then at some point, probably around late ’77 the song suddenly and inexplicably became something very meaningful to me, and I was compelled to go out to a local record shop - Goodness Records in Caterham if memory serves - and for the first time in my life, buy an album. ChangesOneBowie was the start of my falling in love with David Bowie and his art. • There are several early videos of Space Oddity. In February 1969, a video was shot for the early version of the song that was recorded that month. The video appeared in the film Love You till Tuesday. Then in December 1972, Mick Rock shot a video of Bowie miming to the classic June 1969 recording of the song, filmed during the sessions for Aladdin Sane. The resulting music video was used to promote the 1973 US reissue of the Space Oddity single. Later, in 1979, a promotional video of the newly re-recorded version debuted in the UK on Kenny Everett's New Year's Eve Show. Also in 1979, Bowie recorded a mimed performance of the classic 1969 version of Space Oddity, for inclusion in the US NBC TV special Sensational Shocking Wonderful Wacky 70’s, presented by TV host Dick Clark. Only in the late 1969 Hits a-Go Go TV footage, do we have a mimed performance that is actually contemporary to the classic June 1969 recording/November album release. Fortunately, the footage survives in decent quality. I don’t know what the story is with the very stark contrast that basically totally blacks out Bowie’s face throughout a good deal of the performance. Perhaps it was the original intention of the TV show to add mystery, or some such? Or perhaps somewhere in the last 50 years, extreme contrast was added to mask graininess in the picture? Regardless, when the great man’s fresh young face does come into view, it’s a joy. So anyway, since the beautiful new Tony Visconti mix of the original landed, it was obvious to me that a marriage of the two sources would be suitable for one of my music video projects. Hope you dig it! • Credits Video Source: David Bowie • Space Oddity • From the Swiss TV Show Hits A Go Go • Broadcast 3rd of November 1969 Audio Source: David Bowie • Space Oddity (2019 Tony Visconti Full Length Mix) • From Space Oddity 2019 Mix • Originally recorded and released in 1969 ℗ 2019 Jones/Tintoretto Entertainment Company LLC under exclusive license to Parlophone Records Ltd, a Warner Music Group Company David Bowie • Vocals, Acoustic Guitar, Stylophone, Synthesizer Herbie Flowers • Bass Keith Christmas • Acoustic Guitar Mick Wayne • Guitar Rick Wakeman • Mellotron Terry Cox • Drums Tony Visconti • Flutes, woodwind Gus Dudgeon • Production Tony Visconti • 2019 Remix • Always more videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe Facebook.com/TheNachoVideos RUvideos.com/nachomarcho Vimeo.com/NachosProductions #DavidBowie # SpaceOddity #TonyVisconti #GusDudgeon #1969 #2019
John Martyn • Spencer the Rover & Dealer • Sight & Sound In Concert • London • 15 October 1977
John Martyn • Spencer the Rover & Dealer • Sight & Sound In Concert • London • 15 October 1977
11 days ago
John Martyn • Spencer the Rover & Dealer • Sight & Sound In Concert • London • 15 October 1977 • This video is a new edit and sync, of footage compiled from multiple sources, and high quality audio, of John Martyn’s masterful 1977 performance on the BBC TV show, Sight & Sound In Concert. • The show was taped at the Hippodrome in Golders Green, London, where John performed just three tracks: Spencer the Rover, a song originally from his 1975 album, Sunday’s Child; Outside In, from the 1973 album, Inside Out, and Dealer, a new song from John’s forthcoming album, One World, which was to be released three weeks later, on November the 4th 1977. It seems that the performance of Outside In was not included in the Sight & Sound broadcast, nor has it been been broadcast since, and is not included here. • In large measure thanks to the BBC, many fine performances of John Martyn in the 70’s survive to this day, in great quality. In 2006, the “John Martyn At The BBC” DVD was released. It was a treasure trove for fans of vintage JM, containing many of his best BBC performances, including footage from four Old Grey Whistle Test (OGWT) shows and three concert performances. However, some of John’s very best BBC performances were notable by their absence: • OGWT October ’73 • Make No Mistake & Outside In (vimeo.com/340792350) • OGWT January ’81 • Sweet Little Mystery / Lookin’ On (vimeo.com/315090297) • The second half of the Collegiate Theatre, January ’78 show (soon to be uploaded) And in my opinion, most conspicuous of all by it’s absence, was this brilliant 1977 Sight and Sound In Concert material. I first heard the Sight And Sound version of Spencer The Rover on the John Martyn “BBC Radio 1 Live In Concert” CD, released on an independent label in the early 90’s. This sublime version blew me away, and quickly became one of my favorite John Martyn tracks, inevitably making it’s way onto any John Martyn compilation I would put together for friends. Later, in 2007 a double CD was released with a similar title “BBC Live In Concert”. It contained the Sight & Sound version of Spencer the Rover (albeit with an edited intro) and from the same show Outside In, and the absolutely extraordinary performance we have here, of Dealer. The Sight And Sound In Concert show was one of John’s first UK performances from the One World era, preempting the tour for the album that would commence in November of ’77, once the album was released. It could be said that era continued right the way through to the end of the 70’s, since John’s next album Grace and Danger wouldn’t be recorded until summer ’79, and then not actually released until late 1980, prior to which John continued to play shows that leant heavily on the superb material from One World. • One World is my favourite John Martyn album. It was the first album John had recorded in the three years that had elapsed since the Sundays Child album. One World retained the soulful and mellow acoustic folk vibes of previous records, but in addition was more rhythmic and experimental and atmospheric. John had been in Jamaica, hanging out and playing with reggae artists such as Burning Spear and original dub master Lee “Scratch” Perry, and so perhaps not surprisingly One World does contain a feel of reggae rhythms and dubbed-out spaciousness. One World is one of those magical records, which seems to suit every occasion. It is deep, emotional, tender and groovy. It was an album that kept me company many times through teenage loneliness and the early morning comedowns of my hedonistic youth. • Both the Spencer the Rover and Dealer Sight & Sound performances have been online for many years. However, I have improved on these existing versions, combining both better quality footage, and audio. The footage used here is salvaged from five BBC broadcasts, and the “John Martyn In Vision 1973-81” BBC VHS, released in 1982. The footage is synced to high quality official CD audio sources, as detailed below. Hope you dig it! • Credits Video Source: John Martyn • Spencer the Rover & Dealer • Performed live at the Hippodrome, Golders Green, London 15 October 1977 • from the BBC TV Sight & Sound In Concert Audio Source: John Martyn • Spencer the Rover & Dealer • from the Universal Music CD BBC Live In Concert • 2007 and Spencer the Rover additionally from the John Martyn BBC Radio 1 Live In Concert CD • Windsong • 1992 • Always more videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe Facebook.com/TheNachoVideos RUvideos.com/nachomarcho Vimeo.com/NachosProductions #JohnMartyn #BBC #SightAndSoundInConcert #OneWorld #SundaysChild #1977
Joni Mitchell • Help Me • The New Victoria Theatre, London • 22 April 1974
Joni Mitchell • Help Me • The New Victoria Theatre, London • 22 April 1974
14 days ago
Joni Mitchell • Help Me • The New Victoria Theatre, London • 22 April 1974 Compiled from multiple sources, this is a newly cleaned up and synced version, of one of the highlights from the 1974 BBC TV broadcast of Joni Mitchell live at the New Victoria Theater, in London. • Posting on the occasion of Joni Mitchell’s 76th birthday, November the 7th, 2019. "Mind if I turn on the radio?" "Oh, my favorite song" she said And it was Joni singing "Help me I think I'm falling" Prince “The Ballad of Dorothy Parker”, from his brilliant 1987 album "Sign O' the Times. • Help Me was originally from Joni Mitchell’s 1974 album, Court and Spark. The album was her great leap forward, taking onboard new musical complexities, but still retaining her lyrical staple of beautifully articulated anxiety, inadequacy and insecurity - shame, guilt, loneliness, depression, heartbreak among them. The 1974 live album Miles of Aisles, featured only one track from Court and Spark. That fact alone, makes the New Victoria Theater material very valuable, featuring as it does, most of the songs from Court and Spark. It’s likely the original Whistle Test TV broadcast in May ’74 was just a couple of tracks. Then later in the year, an entire 40-minute episode was given over to 9 songs from the show. Softly-spoken hippie-muso presenter of The Whistle Test, “Whispering” Bob Harris, introduced the performance with considerable enthusiasm, “I honestly think she’s almost faultless; a sensitive, imaginative and graceful performer…’ It seems the BBC shot the entire show, and 80 minutes has been collated, mostly in quite low quality: www.youtube.com/watch?v=pvZ3j... ‘74 to ’76; Court and Spark and it’s majestic follow-up, Hissing of Summer Lawns, is peak-Joni for me. Yet, if you search on the web for any footage from the era, you will find almost nothing, except the New Victoria Theater material, in mostly poor quality. That the entire show isn’t available to us in HD, is a very serious crime against art. It always frustrates me to think of how much great material from the last 50 years or so, is just pointlessly and uselessly sitting gathering dust in an archive somewhere. Anyway, here at least is one of the highlights from Joni’s magnificent New Victoria Theater show, in reasonable picture quality and pretty great sound. At the end of the November ‘74 ‘Whistle Test broadcast, Bob Harris comes into view gently nodding in appreciation, and he softly pronounces, “Well, that was great”. Hope you dig it! Credits Audio and Video Source: Joni Mitchell • Help Me • The New Victoria Theatre, London • 22 April 1974 • • The Old Grey Whistle Test • A BBC TV Production • Broadcast 19 November 1974 Musicians: Joni Mitchell • Vocals, Guitar Tom Scott • Woodwinds, Reeds Max Bennett • Bass John Guerin • Drums Roger Kellaway • Piano Robben Ford • Guitar Always more videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe Facebook.com/TheNachoVideos RUvideos.com/nachomarcho Vimeo.com/NachosProductions #JoniMitchell #CourtandSpark #TomScott #LAExpress #MilesofAisles
Nacho Video Editing Demo • Featuring a 1980 David Bowie TV Ad • 2019
Nacho Video Editing Demo • Featuring a 1980 David Bowie TV Ad • 2019
19 days ago
Nacho Video Editing Demo • Featuring a 1980 David Bowie TV Ad • 2019 • Here’s a short demo video on how I “cleaned” a piece of rare 1980 Bowie footage, removing unwanted artifacts such as embedded text etc. • I’m putting this video out now, to help promote the forthcoming David Bowie Glamour Fanzine Issue 6, which is out later this month, and contains a feature by yours truly. You can pre order a copy of the fanzine via davidbowieglamour.com Pre orders close this Monday the 4th of November, at midnight. • Originally I had put together a rough cut of this video for a Church of David Bowie Watch Party, earlier this year. Soon after that, the guys at David Bowie Glamour fanzine told me they would publish an article I had written for them about my video editing and Bowie love, and I thought this video would be a nice tie-in. Hope you dig it! Credits Video Source: Crystal Jun Rock • Japanese Shochu Liquor Advert • Takara Shuzo Co. Limited • March 1980 Audio Source: David Bowie • Crystal Japan • Japanese 7” single • Recorded at the Scary Monsters sessions, 1980 • Produced by David Bowie & Tony Visconti • Released March 1980 David Bowie • Teenage Wildlife • from the Scary Monsters album • Recorded 1980 • Produced by David Bowie & Tony Visconti • Released September 12, 1980 • I don't own the rights, and I never monetize. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe Facebook.com/TheNachoVideos RUvideos.com/nachomarcho Vimeo.com/NachosProductions nachomarcho@gmail.com #CrystalJunRock #CrystalJapan #TeenageWildlife #DavidBowieGlamour #FCPX
Echo And The Bunnymen • A Promise • Belgium TV • 1981
Echo And The Bunnymen • A Promise • Belgium TV • 1981
21 day ago
Echo And The Bunnymen • A Promise • Belgium TV • 1981 • “There's light on the water, We could sail on forever….” • This video is a new edit of rare footage of Echo And The Bunnymen from 1981, appearing on a Belgium TV show called Generation 80. In all likelihood, the appearance on Generation 80 was on May 17th, 1981. On that date Echo and the Bunnymen played a show at the University of Brussels, Belgium. On the Generation 80 appearance, the band mimed to a playback of studio versions of A Promise and Turquoise Days, both of which were unreleased at that point. Both songs would soon appear on Echo And The Bunnymen’s second album, Heaven Up Here, released on May 30th, 1981. A Promise, was also released as a single, on 10 July 1981. It stayed on the UK Singles Chart for four weeks and peaked at number 49. It was the only single to have been released from, Heaven Up Here. No promotional video was made for the song. And indeed, there are almost no Bunnymen videos in circulation, from the approximately 8-month “Heaven Up Here period” (April to December ’81). This is a great pity, especially for those of us that think that Heaven Up Here is the bands finest hour, and not only that, one of the best rock albums of all time. And so I was astonished and delighted to recently find this great TV footage of the band, from May ’81, a couple of week prior to the release of the Heaven Up Here album. I’ve cleaned up and reedited the footage. There was no reason to retain the poor quality sound of the original clip, and so I’ve synced it to the 2003 remastered Heaven Up Here version. Hope you dig it! • I’m very grateful to “T”, fellow Bunnymen fanatic and collector, without whom… • Credits Video Source: Echo And The Bunnymen • A Promise • Performed on the Belgium TV show ”Generation 80 • May 1981 Audio Source: Echo And The Bunnymen • A Promise • From the album Heaven Up Here • Produced by Hugh Jones • Recorded at Rockfield Studios, Monmouth, Wales • March 1981 • Released May 30, 1981 Musicians: Ian McCulloch • vocals, guitar Will Sergeant • lead guitar Les Pattinson • bass Pete de Freitas • drums • I don't own the rights, and I never monetize. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe Facebook.com/TheNachoVideos RUvideos.com/nachomarcho Vimeo.com/NachosProductions nachomarcho@gmail.com #EchoAndTheBunnymen #APromise #HeavenUpHere #HughJones #1981
Echo And The Bunnymen • Turquoise Days • Belgium TV • 1981
Echo And The Bunnymen • Turquoise Days • Belgium TV • 1981
Month ago
Echo And The Bunnymen • Turquoise Days • Belgium TV • 1981 • This video is a new edit of rare footage from a Belgium TV show called Generation 80. The band were not playing live, merely miming to the album version of Turquoise Days. There was no reason to retain the poor quality sound of the original clip, and so I’ve synced it to the 2003 remastered Heaven Up Here version. On May 17th, 1981, Echo and the Bunnymen played a show at the University of Brussels, Belgium. Since the band had shows one or two days prior and post this date, in all likelihood, the performance on Generation 80 was also on May 17th. They performed A Promise and Turquoise Days, both songs were at that point unreleased. • There are almost no Bunnymen videos in circulation, from the approximately 8-month (April to December ’81) Heaven Up Here period. This is a great pity, especially for those of us that think that Heaven Up Here is the bands finest hour, and not only that, one of the best rock albums of all time. And so I was astonished to see great TV footage of the band, from May ’81, a couple of week prior to the release of the album. I’ve cleaned up and reedited the footage and synced it to the best quality audio source at my disposal, as per the usual Nacho remit. Hope you dig it! • I’m very grateful to “T”, fellow Bunnymen fanatic and collector, without whom… • Credits Video Source: Echo And The Bunnymen • Turquoise Days • Performed on the Belgium TV show ”Generation 80 • May 1981 Audio Source: Echo And The Bunnymen • Turquoise Days • From the album Heaven Up Here • Produced by Hugh Jones • Recorded at Rockfield Studios, Monmouth, Wales • March 1981 • Released May 30, 1981 Musicians: Ian McCulloch • vocals, guitar Will Sergeant • lead guitar Les Pattinson • bass Pete de Freitas • drums • I don't own the rights, and I never monetize. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe Facebook.com/TheNachoVideos RUvideos.com/nachomarcho Vimeo.com/NachosProductions nachomarcho@gmail.com #EchoAndTheBunnymen # TurquoiseDays #HeavenUpHere #HughJones #1981
Joy Division • Transmission • 1979
Joy Division • Transmission • 1979
Month ago
Joy Division • Transmission • 1979 • Joy Division's “Transmission", was released as a 7” single, forty years ago on this day, the 7th of October 1979. This video is an attempt to sync the famous 15th of September “Something Else” BBC TV footage, of Joy Division performing “Transmission", to the Martin Hannet produced studio version of the song. • Henry Rollins, “I think when they write the REAL book on rock and roll, and they finally get everything just right, ‘cos they got it SO wrong so far… When they finally get it right, David Bowie and Joy Division will be right up in the top.” Let’s not get into Nacho superlatives about the brilliance of Joy Division and of the masterpiece that is Transmission. Instead, here’s Joy Division bassist, Peter Hook, quoted from Greil Marcus book "The History of Rock 'n' Roll in Ten Songs", "We were doing a soundcheck at the Mayflower, in May, and we played 'Transmission': people had been moving around, and they all stopped to listen. I realized that was our first great song." • Someone else attempted this idea before: I remember seeing a video on RUvideos a couple of years ago I think it was, that was the Something Else footage of Transmission, synced to the studio version of the song. The sync was far from precise, due to the obvious considerable differences between the two sources. And I remember thinking to myself: gosh what a nightmare job it would be, to create an accurate sync… no thanks. And so, after 6 months thereabouts of tinkering, here’s my try. Hope you dig it! • Credits Video Source: Joy Division “Transmission” • Performed on the BBC TV show “Something Else” • September 15, 1979 • Production credits unknown Audio Source: Joy Division “Transmission” • Produced by Martin Hannet • Recorded at Strawberry Studios, Stockport • July 28 - August 4, 1979 • Released October 7, 1979 • FAC13 Musicians: Ian Curtis • lead vocals Bernard Sumner • lead guitar, keyboards Peter Hook • bass, backing vocals Stephen Morris • drums, percussion • I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe Facebook.com/TheNachoVideos RUvideos.com/nachomarcho Vimeo.com/NachosProductions nachomarcho@gmail.com #JoyDivision #Transmission #Factory #FAC13 #MartinHannet #1979
David Bowie • “Heroes” • Previously Unreleased Alternate Take 1 • 1977
David Bowie • “Heroes” • Previously Unreleased Alternate Take 1 • 1977
Month ago
David Bowie • “Heroes” • Previously Unreleased Alternate Take 1 • 1977 • This video is a newly-edited, previously unreleased take, from the Stanley Dorfman / Nicholas Ferguson-directed official “Heroes” promo video outtakes reel. It is synced to the 2017 remastered version of “Heroes”, edited back into the 1977 7” single format. • The promo video for David Bowie’s “Heroes” was shot in the UK, on the 27th of September 1977, four days after the release of the “Heroes” single on this day in 1977, the 23rd of September. The shoot was commissioned by RCA, Bowie’s label throughout the Seventies. It is unclear to me who actually directed the shoot. The original clapperboard at the beginning of the reel states that Nick Ferguson was the director. And yet it is usually cited (including on the official online promo video) that Stanley Dorfman was the Director. Dorfman had earlier directed Bowie’s Be My Wife promo video in Paris a few months earlier, on the 28th of June, 1977. The “Heroes” shoot was a classic and simple looking affair - Bowie miming to the song, in his tight jeans and tight bomber jacket staple of the era, silhouetted against an dark empty background, broken by a distant spotlight and rolling smoke. The “Heroes” promo outtakes reel is just under 28 minutes long. It contains one complete take, and 8 partial takes of “Heroes”. In addition, there are a couple of takes of about 30 seconds of Blackout. And about 3 minutes of close-ups of Bowie slowly bringing his hand to his face, mimicking the “Heroes” album cover whilst Sense of Doubt plays in the background. It seems there was no intention of creating promos for the latter two songs; the footage was merely to be used in the two TV commercials for the “Heroes” album. The official promo for “Heroes” utilizes sections from most of the takes, in long cross dissolves. The only complete take of “Heroes”, Take 1, was barely used - all that was included was the 10 seconds of “I would be king, and you, you would be queen”. The complete Take 1 of “Heroes” is really great looking, and in my opinion, contains some of the best scenes of the entire reel. It includes many full-face close-ups of Bowie that are truly beautiful. I presume that this take was largely unused due to the fact that Bowie’s miming in it was not very accurate. He had sung “Heroes” live a couple of times - for the Marc Show on September 7th, and for Bing Crosby’s Merrie Olde Christmas Special, on September 11th. But perhaps some of the nuances of his own vocal on the actual recorded version, which had only been completed a few weeks prior, were actually forgotten or unfamiliar to him in this first take. And since the promo was for immediate use - we see it included on the “L’Altra Domenica” show a few days later - perhaps there was no time for a very sophisticated edit. In considering the many possible ways of making my own re-cut version of the “Heroes” promo video, I eventually decided on trying to salvage the wonderful Complete Take 1. Thanks to the vast possibilities of modern digital editing, it was relatively easy to alter some of the cross cuts between the two camera angles, and moreover to correct or somewhat mask Bowie’s lip-sync errors. I'm not that keen on the 7" mix of "Heroes" from the A New Career in a New Town box set. So here, I have re-edited the excellent 2017 remaster of the album version of "Heroes", into the 1977 7" single edit format. Hope you dig it! • This video started out as part of the The HD Projects video: Tracing My Dad • Vol. 10 • Tony Visconti discusses Dennis Davis and David Bowie • Part 3 [ 77/78 ] www.youtube.com/watch?v=DqqhA... Part of an interview series with producer Tony Visconti. This volume focuses on the “Heroes” and ’78 tour era. If you haven’t checked out young Hikaru Davis and his The HD Projects, please take a look. • Credits Video Source: “Heroes” Promo Video • Directed by Stanley Dorfman & Nicholas Ferguson • Shot 27th September 1977 Audio Source: “Heroes” 2017 Remaster • Produced by Tony Visconti & David Bowie • Recorded July & August 1977 Musicians: David Bowie • lead vocals, piano, ARP Solina String Ensemble, Chamberlin, percussion Robert Fripp • lead guitar Carlos Alomar • rhythm guitar George Murray • bass guitar Dennis Davis • drums Brian Eno • EMS VCS 3 synthesizer, guitar treatments Tony Visconti • backing vocals, tambourine, tape reel as percussion • Dedicated to Sooky I I will be king And you You will be queen • I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe Facebook.com/TheNachoVideos RUvideos.com/nachomarcho Vimeo.com/NachosProductions nachomarcho@gmail.com #DavidBowie #Heroes #BrianEno #TonyVisconti ##TheDAMTrio #RobertFripp #1977
Echo And The Bunnymen • Crocodiles • Live at Futurama 2 • Queens Hall Leeds • 13th September 1980
Echo And The Bunnymen • Crocodiles • Live at Futurama 2 • Queens Hall Leeds • 13th September 1980
2 months ago
Echo And The Bunnymen • Crocodiles • Live at Futurama 2 • Queens Hall Leeds • 13th September 1980 Echo & the Bunnymen’s Crocodiles, was originally the title track from their 1980 debut album. Here it is, performed live at the Futurama 2 Festival, in Leeds on this day, Saturday the 13th September 1980. The Futurama 2 Festival was only the Bunnymen’s second gig after the recording and release of Crocodiles, a couple of months prior on July the 18th. The festival featured a huge lineup that included U2, Robert Fripp’s League of Gentlemen, The Psychedelic Furs and Saturday-night headliners Siouxsie and the Banshees. John Peel attended the festival, and reviewed it on his radio show the following week, concluding, “The whole weekend went by a considerable distance to Echo and the Bunnymen, who were terrific”. • The BBC Futurama 2 footage has been online before in various configurations and grades of quality. I think this is the cleanest version thus far of the Bunnymen bit, which really is a touch of class. Hope you dig it! • Musicians: Ian McCulloch • vocals, guitar Will Sergeant • lead guitar Les Pattinson • bass Pete de Freitas • drums Video and Audio Source: Futurama Rock 80 • Highlights from the Futurama 2 Festival • BBC TV • Directed by Stuart Orme • Produced by John F. Keenan • Broadcast 10th January 1981 • I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe Facebook.com/TheNachoVideos RUvideos.com/nachomarcho Vimeo.com/NachosProductions nachomarcho@gmail.com #EchoAndTheBunnymen #Futurama2 #Crocodiles
Joni Mitchell • Coyote • Live at the Santa Barbara Bowl • 9th September 1979
Joni Mitchell • Coyote • Live at the Santa Barbara Bowl • 9th September 1979
2 months ago
Joni Mitchell • Coyote • Live at the Santa Barbara Bowl • September 9th 1979 Coyote is the opening track from Joni’s 1976 album Hejira. The Santa Barbara Bowl show, where this version was recorded, was part of the tour for the album Mingus. For that tour, Joni had assembled a lineup of great contemporary jazz musicians. Jaco Pastorius had played on Joni’s albums since Hejira; his distinctive fretless bass dominating the sound of that album. Percussionist Don Alias had played on Mingus, and the preceding album, Don Juan’s Reckless Daughter. And Pat Metheny seems to have been brought in for the tour only. Not performing on this track, but also in the band were Michael Brecker on sax, and Lyle Mays on keyboards. • This version of Coyote is one of my favorite Joni moments. The way Joni and the band enjoy playing together is exhilarating. I just wish the groove they hit at the end would keep on going. The Shadows and Light film is a mixed bag for me. Apparently it was Joni’s idea to cut in the non-concert footage. Personally I’d rather just see the show. I couldn’t find any video of this performance online that even approaches HD. So here’s a transfer from the Shadows and Light DVD. The picture quality on the DVD isn’t really HD and it doesn’t seem have been remastered or upgraded from the original laser disc release. Likewise the sound on the DVD isn’t that great. At least I could improve on that - I’ve dubbed on the great quality audio of the same performance from the Shadows and Light CD. Hope you dig it! • Musicians: • Joni Mitchell - vocals, rhythm guitar • Pat Metheny - lead guitar • Jaco Pastorius - bass • Don Alias - percussion Audio & Video: Joni Mitchell • Coyote from “Shadows and Light” DVD & CD • 1980 • Recorded live at the Santa Barbara Bowl • September 9th 1979 Produced and Directed by Joni Mitchell • I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe Facebook.com/TheNachoVideos RUvideos.com/nachomarcho Vimeo.com/NachosProductions nachomarcho@gmail.com #JoniMitchell #ShadowsandLight #Coyote #Hejira #PatMetheny #JacoPastorius #DonAlias
Echo And The Bunnymen • Zimbo (All My Colours) • Live at Buxton Pavilion • 17 January 1981
Echo And The Bunnymen • Zimbo (All My Colours) • Live at Buxton Pavilion • 17 January 1981
3 months ago
Echo And The Bunnymen • Zimbo (All My Colours) • Live at Buxton Pavilion • 17 January 1981 This is the 2003 remastered version of Zimbo from the Shine So Hard EP, synced with the newly cleaned up Shine So Hard movie footage. • Echo & the Bunnymen’s intensely beautiful song of loss, Zimbo AKA All My Colours, made its debut in a John Peel Session, 4th of November 1980. At that time it was given the provisional title All My Colours Turn To Clouds. The song was first released, renamed Zimbo, as the version we have here - a live recording from the Shine So Hard EP, on the 10th April 1981. “Will (Sergeant) said, ‘This would make a good EP’. And the next thing you know it was out. No one consulted us.” - Ian McCulloch, 1981. “We didn’t want that released because there’s two songs off the new album on it, and the new album versions are a million times better” - Pete de Freitas, 1981. That album was Heaven Up Here, released a little over a month later, 30th May 1981. Heaven Up Here was voted "Best Album" of the year, in the 1981 NME poll. And All My Colours is not only one of the finest tracks on the album, I think it’s one of greatest songs from the era. Joy Division’s ‘Atmosphere’ had been released a few months earlier, and the two songs share some similarities. All My Colours is not as lyrically dense as Atmosphere, but it is it’s equal in quality and mood. In Atmosphere, Ian Curtis sings of a person who could leave a relationship without feeling any sense of loss or burden. In All My Colours, it’s, “…the loss of someone and the fact that people hold onto things that have already gone’, as Ian McCulloch put it himself. Another similarity between the two tracks is that drumming dominates the music. In Atmosphere, softly rolling tom toms sound throughout. Then at the end of each bar in the chorus, there is the single magical "chime" of a treated tambourine. In All My Colours, Pete de Freitas pounds out an African tribal-sounding tom tom rhythm. Then in the chorus, after McCulloch has sung, “All my colours turn to clouds”, de Freitas adds to the end of each bar, a startling single thunderous clap from a synth drum pad. In both songs, these elements are strokes of musical genius, in my opinion. I think Atmosphere, is very reliant on Martin Hannet’s magnificent studio production for its fragile beauty. Whereas the Bunnymen could very effectively recreate the startling chilly beauty of All My Colours live. And in quite large measure, that was down to Pete de Freitas' drumming. Bill Drummond, the Bunnymen’s manager during their early years, said of de Freitas “Generally, he was recognized as one of the great drummers of his generation.” If any proof were needed of de Freitas incredible musicianship, his playing here on Zimbo at the Buxton ’81 show, should be more than sufficient. Watch Pete at work in this video for the last minute or so of the song - from around 2:36 - it is thrilling to see his incredible playing. In the Shine So Hard film Pete de Freitas sports a shaven head. According to the Bunnymen’s then-publicist Mick Houghton, in his book “Fried and Justified: Hits, Myths, Break-Ups and Breakdowns in the Record Business 1978-98” during the Buxton event, “...nobody was speaking to Pete, who had shaved his head the night before as a kind of protest against Bunnymen protocols. Shaved heads are common enough today, but in 1981 they were associated only with skinheads. Pete looked marginally less devilishly handsome, but he’s broken the rules - the Bunnymen didn’t do shaved heads”. But Pete was an unpredictable guy who by all accounts took a lot of chances. And unfortunately 30 years ago, on the 14th of June 1989, Pete de Frietas was killed in a motorcycle accident, en route to Liverpool for band rehearsals. Before setting off on the journey, he had strapped a bulky video camera to his motorbike. His wife Jonson had warned him, “It looks too heavy Pete, just take the car”. But he replied, “Nah, it’s a beautiful day, I’ll take the bike”. Pete de Frietas was 27 years old. • So here is the final installment - four of four - of my Shine So Hard stand alone music videos. Hope you dig it! • Musicians: Ian McCulloch • vocals, guitar Will Sergeant • lead guitar Les Pattinson • bass Pete de Freitas • drums Video Source: Shine So Hard • Directed by John Smith • Produced by Bill Butt • Director of Photography Patrick Duval • Released 13th of August 1981 Audio Source: Shine So Hard EP • Produced by Bill Drummond & Hugh Jones • Released 10th April 1981 • I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe Facebook.com/TheNachoVideos RUvideos.com/nachomarcho Vimeo.com/NachosProductions nachomarcho@gmail.com #EchoAndTheBunnymen #ShineSoHard #Crocodiles #JohnSmith
David Bowie • News Conference • Sebel Town House Hotel • Sydney, Australia • November 1978
David Bowie • News Conference • Sebel Town House Hotel • Sydney, Australia • November 1978
3 months ago
David Bowie • News Conference • Sebel Town House Hotel • Sydney, Australia • November 1978 An approximately seven-minute interview with David Bowie, in Sydney 1978, by members of the Australian press. Bowie was in Sydney to play two shows at the Sydney Showgrounds, November 24th and 25th, 1978. The shows were part of the Australia and New Zealand leg of his Isolar II World Tour. The interview was held at the Sebel Town House Hotel. The Sebel was in its day, Australia’s most recognized celebrity hotel, and Bowie and the band would reside there for the duration of their Sydney stay, November 24th to 29th. The Bowie Downunder page has some great info about the Australian / New Zealand '78 tour: bowiedownunder.com/lowheroes/1.html After the interview, I’ve added a short bit of footage of Bowie performing live from the first Sydney show, November 24th. It is the only known live footage from the Australia tour. The footage originates from Peter Green, who shot it himself at the show: ruvideos.org/3DkYbKZ50eA-video.html From the comments on Peter’s upload: 78Bowman: Peter, what’s the back-story to the footage? Peter Green: found an old movie camera at my parents, didn't know if it worked. Went with my best friend Mark, we really wanted front row so pretended to be part of the Pony show at the 2nd showgrounds next to the one where Bowie played, walked around with the horses for 30 mins and sneaked over a metal fence, pretended we were meant to be at the show, and basically hid in the toilets for 2 hrs till a minute before gates opened and ran to the front row. Nacho: The obvious question, Peter - is there any more? Peter Green: Sadly no, I was very young and we didn't even know if the camera worked, the first roll of film was used to cover Bowie, Cheap Trick, The Angels, Skyhooks and some mates... and the cartridge only ran for 3 minutes. Peter’s footage contained no original sound. So I identified what Bowie was singing in the footage, and here I have synced it to an audience recording of that show. Hope you dig it! More videos to follow, so please keep your electric eye on me babe! • Source: David Bowie • News Conference • Sebel Town House Hotel • Sydney, Australia • November 1978 • from the ABC TV Rage Bowie Special, 2016. David Bowie “Heroes” • Live at Sydney Showgrounds • November 24th 1978 • Footage • Super 8 shot by Peter Green • Audio • David Bowie “Forever Yours" vinyl Bootleg • DB 6894 • I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe Facebook.com/TheNachoVideos RUvideos.com/nachomarcho Vimeo.com/NachosProductions nachomarcho@gmail.com #DavidBowie #Heroes #IsolarII #Stage
Echo and the Bunnymen • Shine So Hard • Directed by John Smith • 1981 • Nacho Restoration
Echo and the Bunnymen • Shine So Hard • Directed by John Smith • 1981 • Nacho Restoration
3 months ago
Echo and the Bunnymen • Shine So Hard • Directed by John Smith • 1981 • Nacho Restoration • “Shine So Hard” is an abstract and fragmentary short film made in 1981, featuring Echo & the Bunnymen. It was directed by John Smith and produced by Bill Butt. This newly remastered version of "Shine So Hard", is being made available online for the first time today, on the anniversary of the film’s premier at London’s ICA, 13th of August 1981. • By mid-December 1980, Echo and the Bunnymen had concluded the tour promoting their debut album “Crocodiles”. There was to be a lull in live shows until April the following year, while the band rehearsed and recorded material for what would become their second album, “Heaven Up Here”. However, Bill Drummond, the Bunnymen's manager, hatched a plan for a one-off gig on 17th January 1981. It was to be a special event, a mystery show. The "secret" location was stated as “Gomorrah”. But the venue was, in fact, the Victorian concert hall at the Pavilion Gardens in Buxton, a quiet spa town in Derbyshire’s picturesque Peak District. The event was to be used as the basis for a short promotional film commissioned by the band’s label, Warner Brothers. “Shine So Hard” documents the event, which was to be the final show of the Bunnymen’s apocalyptically staged “Camo Tour”. Dramatic back-lighting, a stage draped in camouflage netting, clouds of billowing smoke and the band all dressed in army surplus, produced what Ian Pye of the Melody Maker described as ‘A Coppola inspired vision of Armageddon’. The “Shine So Hard” film was released on the 13th of August 1981. It was screened at London’s ICA for two weeks, and elsewhere in the UK. The British Film Institute September 1981 Monthly Bulletin declared: ‘John Smith’s film matches conventional, excellently shot material of Echo and the Bunnymen live with footage that attempts to locate the band in a context of more abstract imagery. Smith deliberately and jokingly, allows the two sections to collide rather than attempt to blend them… a rather arty, anti-Last Waltz joke.’ In 1982, a limited edition of 500 home videos of “Shine So Hard” was released. Since then, if one wanted to see “Shine So Hard” in all of it’s glory, the only option was to attend one of it’s very rare cinema screenings. I myself had never seen the film except as frustratingly low-quality home video transfers. Ask and thou shall receive - I had recently posted a video I made for “Zimbo”, from poor quality “Shine So Hard” sources, and in the accompanying notes, I asked the Bunnyverse for a good-quality copy of the film. Shortly thereafter, an HD digital transfer of “Shine So Hard” came my way. Having waited for over 35 years, the film did not disappoint. The music and performances are of course brilliant. ”Shine So Hard” is also a very well shot, paced and edited piece of film-making, and the sound design is fantastic. In the poor video transfers, I hadn't noticed many of the small and enjoyable details. For instance, with this new digital version I realised for the first time, the book Pete de Freitas is reading, is Salinger’s “Catcher in the Rye”. • The picture quality of the "Shine So Hard" film transfer I received was generally very good. Nevertheless, I set out to improve a few issues. The primary one was to dub in the 2003 remastered versions of the songs from the “Crocodiles” album and the “Shine So Hard” EP. Matching correctly all the abrupt little snippets of “Monkeys” was quite challenging. Those early Bunnymen records, shows and the “Shine So Hard” film meant a lot to me in my youth. And so I am very pleased and proud to present John Smith and Bill Butt’s perfectly formed little masterpiece, polished and online for the first time, shining so hard. Hope you dig it! • An much expanded version of this text, and a wealth of accompanying photos is posted on facebook.com/TheNachoVideos • Director • John Smith Producer • Bill Butt Director of Photography • Patrick Duval Camera Operator • Mike Tomlinson Editor • Patrick Duval • John Smith Sound Recording • Peter Woods 2019 Restoration • Nacho Starring: Ian McCulloch Will Sergeant Pete de Frietas Les Pattinson Songs by Echo & the Bunnymen: 1. Monkeys 2. Stars Are Stars 3. Pride 4. Going Up 5. Over The Wall 6. All That Jazz 7. Crocodiles 8. Zimbo • Tracks 1 - 3 produced by The Chameleons • from the album Crocodiles • Released July 1980 • Tracks 4 - 8 recorded live 17 January 1981, by the Manor Mobile • Produced by Bill Drummond & Hugh Jones, mixed at Rockfield Studios in Monmouth, Wales date 16/17th February 1981 • Track 4 unreleased • Tracks 5 - 8 from the Shine So Hard EP, released 10th April 1981 • I don't own the rights, and I never monetise. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe Facebook.com/TheNachoVideos RUvideos.com/nachomarcho Vimeo.com/NachosProductions nachomarcho@gmail.com #EchoAndTheBunnymen #ShineSoHard #JohnSmith #BillButt
Talking Heads • Air • 1979
Talking Heads • Air • 1979
3 months ago
Talking Heads • Air • 1979 Musicians: David Byrne •Vocals, guitar Chris Frantz • Drums Tina Weymouth • Bass Jerry Harrison • Guitar, vocals The Sweetbreaths • Backing vocals Video Source: The South Bank Show Documentary on Talking Heads • Season 3, Episode 4 • Shot in August 1979 • Produced and Directed by Geoff Dunlop • Edited by Tony Webb • Broadcast on 23 December 1979 Audio Source: Talking Heads • Air • from the album Fear of Music • Produced by Brian Eno and Talking Heads • Released 3 August 1979 Talking Heads • Air (Rehearsal) • The South Bank Show Documentary on Talking Heads • Mixed by Frank Gallagher Putting this out today, to commemorate that 40 years ago this weekend, 3rd / 4th of August 1979, one of my favorite albums was released: Talking Heads "Fear of Music". Much of the Fear of Music album was recorded at Chris Frantz's and Tina Weymouth's apartment. On April 22 and May 6, 1979, a mobile recording van, manned by a sound engineering crew, parked outside Chris and Tina’s apartment, and ran cables through their loft window. On these two days, Talking Heads recorded the basic tracks for the album, with Brian Eno co-producing. I was curious to know if the apartment we see in the Southbank film, where the band rehearse, is the same one they recorded the album in. I asked Chris Frantz this weekend: • Nacho: Hi Chris, the Southbank Show documentary, shot in August 1979, I believe. Is it where the album was recorded; Tina and yours apartment? • Chris: “Yes. This is the loft where Tina and I lived and the band rehearsed at 9-01 44th Drive in Long Island City New York. We recorded FEAR OF MUSIC there using the Record Plant Mobile.” • Nacho: I assumed that was so, thanks for confirming, Chris. I guess you must have had very tolerant neighbors? • Chris: Yes we did. This is my third (and final) video, edited from the brilliant 1979 Talking Heads Southbank Show documentary. Everything about the doc is great - the intelligent interviews, the lighting and photography, and especially the footage of the band playing live and in rehearsal. In the documentary, the performance of Air is incomplete and moreover, most of the music is obscured by talking. Since the band are rehearsing a track from Fear of Music, in the very same space they recorded it just a few months prior, this video just had to happen… And the intro is a tribute to Chris and Tina’s very tolerant neighbors! Hope you dig it! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe Facebook.com/TheNachoVideos RUvideos.com/nachomarcho Vimeo.com/NachosProductions nachomarcho@gmail.com #Talking Heads #FearOfMusic #Air #BrianEno #DavidByrne #TinaWeymouth #ChrisFrantz #JerryHarrison
Echo And The Bunnymen • Crocodiles • Live at the Pavilion Gardens, Buxton • 17 January 1981
Echo And The Bunnymen • Crocodiles • Live at the Pavilion Gardens, Buxton • 17 January 1981
3 months ago
Echo And The Bunnymen • Crocodiles • Live at the Pavilion Gardens, Buxton • 17 January 1981 Musicians: Ian McCulloch • vocals, guitar Will Sergeant • lead guitar Les Pattinson • bass Pete de Freitas • drums Video Source: Shine So Hard • Directed by John Smith • Produced by Bill Butt • Director of Photography Patrick Duval • Released 13th of August 1981 Audio Source: Shine So Hard EP • Produced by Bill Drummond & Hugh Jones • Released 10th April 1981 Echo & the Bunnymen’s Crocodiles, was originally the title track from their 1980 debut album. Here it is, performed live in early '81, from the Shine So Hard movie, and it’s accompanying soundtrack EP. In mid-December 1980, the Bunnymen had concluded the tour promoting Crocodiles. There was to be a lull in live shows until April the following year, while the band rehearsed and recorded material for what would become the second album, Heaven Up Here. But Bill Drummond, who headed the bands management company Zoo, hatched a plan for one more gig - a mystery show to be held on the 17th January 1981. Adverts were placed in the music press, instructing fans who wished to attend to write to Zoo requesting a ticket. 500 lucky fans were then sent free passes for the show, and directions to the “secret” location. For those without cars, coaches were laid on from London, Liverpool and other cities in the UK. The tickets for the event stated “Destination Gomorrah”. But in fact the venue was the Victorian concert hall at the Pavilion Gardens in Buxton, a quiet spa town in Derbyshire’s picturesque Peak District. The event was used as the basis for a short film called Shine So Hard, which was commissioned by the band’s label, Warner Brothers. Producing the film was Bill Butt, Echo and the Bunnymen’s lighting and stage designer. Butt’s show for the Bunnymen was described as “a Coppola inspired vision of Armageddon”, by Ian Pye of the Melody Maker. It consisted of a stage draped in camouflage netting, with startling back-lighting and copious amounts of smoke. “Bill Drummond and myself knew it was time to have a Bunnymen video, but none of us wanted to do a straight promotion thing and we’d already considered a film. The idea of a mystery gig seemed to tie in with the film. “I think it’s important to get footage of the early gigs… this will be a document detailing the end of one stage of The Bunnymen. Really this show will be the last time we use the camouflage netting on stage and the same lighting design”. - Bill Butt, speaking to Ian Pye of the Melody Maker, during the filming of Shine So Hard. So here is installment three of four, of my remasters of the live tracks from the Shine So Hard film, cleaned up, edited and synced to the 2003 remastered audio from the Shine So Hard EP. Hope you dig it! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe Facebook.com/TheNachoVideos RUvideos.com/nachomarcho Vimeo.com/NachosProductions nachomarcho@gmail.com #EchoAndTheBunnymen #ShineSoHard #Crocodiles #JohnSmith
Echo and the Bunnymen • Over The Wall • Live at the Pavilion Gardens, Buxton • 17 January 1981
Echo and the Bunnymen • Over The Wall • Live at the Pavilion Gardens, Buxton • 17 January 1981
3 months ago
Echo and the Bunnymen • Over The Wall • Live at the Pavilion Gardens, Buxton • 17 January 1981 • Remastered Musicians: Ian McCulloch • vocals, guitar Will Sergeant • lead guitar Les Pattinson • bass Pete de Freitas • drums Video Source: Shine So Hard • Directed by John Smith • Produced by Bill Butt • Director of Photography Patrick Duval • Released 13th of August 1981 Audio Source: Shine So Hard EP • Produced by Bill Drummond & Hugh Jones • Released 10th April 1981 Over The Wall This is Echo & the Bunnymen’s Over The Wall, performed live in early 1981, sourced from the Shine So Hard movie, and it’s accompanying soundtrack EP. Over The Wall, although it was unreleased at the time of the Buxton show, was well known to the fans. It was not actually a new song, and even predated the July 1980 debut album, Crocodiles. It had been one of the tracks included on the band’s second John Peel session, recorded on the 22nd of May 1980. Produced by John Etchells and engineered by Mike Robinson, the Peel Session version of Over The Wall, contains a lot of the elements of the final Heaven Up Here cut. But it lacks the majesty and power - and the final apocalyptic two minutes - of the Heaven Up Here version. As Bunnymen folklore tells it, often the tracks the band would debut as Peel Sessions, were in early stages of development, and sometimes had literally just be written: “With little money, the band used (the Peel Sessions) to demo new material. Many of the songs were written due to the fact a Peel session had been booked, not because the show loved the new songs...”- from the sales notes of the long overdue and very welcome forthcoming album of the complete Echo and the Bunnymen Peel Sessions 1979 - 1983, which will be released in September, this year. By the time of the Buxton show, in early January 1981, the structure of Over The Wall was now very similar to the final Heaven Up Here version. The album, produced by Hugh Jones, who had co-produced Shine So Hard, was recorded just a couple of months later, in March ‘81. On Heaven Up Here, the songs were filled out with "guitar overdubs, keyboard glints, vocal multitracking and atmospheric vapours" - music journalist Simon Reynolds. At the time of it’s release, Julian Cope from rival Liverpudlian outfit, The Teardrop Explodes, in a rare moment of humility in those days, stated that the first three tracks of Heaven Up Here (Show of Strength, With a Hip, Over The Wall) were as good as any music ever made. “On Heaven Up Here, Over The Wall, the album’s epic centerpiece appears in more subtle, textured form than the Buxton live version. An exercise in controlled power and smouldering aggression, McCulloch’s lyrics erupt in a fabulously ominous chorus: “Over the wall, hand in hand / over the wall, watch us fall.” - Dave Simpson, in The Guardian, 2017. Shine So Hard In late 1980 and early 1981, Echo and the Bunnymen were promoting their debut album Crocodiles. A concert held at the Pavilion Gardens in Buxton, Derbyshire on 17 January 1981, was used as the basis for a short film called Shine So Hard, that was commissioned by Warner Brothers, the bands label. The young experimental art film director, John Smith was chosen to direct. "I had no connection with the Bunnymen or with Bill Butt (the band’s lighting engineer and the producer of Shine So Hard). But my friend Patrick Duval, who shot and co-edited the film with me, had been an art school undergraduate with Bill a few years previously, and had remained in touch. Bill approached Patrick and asked him if he knew any interesting experimental filmmakers with a union ticket and Patrick recommended me. I’d never made a music film before but decided to give it a go. "Warners thought they were just going to get a short promo for one song. We somehow managed to stretch the budget to make a 30-minute extravaganza. I’ve got very fond memories of a week with the band in Buxton, shooting the film, which was quite an adventure for me as a young filmmaker. Warner's really hated the film, especially because you don’t get to see the band’s faces until half way through. It was all much too weird for them. I can still remember sitting in a preview theatre with some very unhappy men in suits" - John Smith, 2019 So here is another installment of my remasters, of the four complete live tracks from John Smith’s film, edited and synced to the 2003 remastered audio from the Shine So Hard EP. Hope you dig it! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe Facebook.com/TheNachoVideos RUvideos.com/nachomarcho Vimeo.com/NachosProductions nachomarcho@gmail.com #EchoAndTheBunnymen #ShineSoHard #HeavenUpHere #OverTheWall #JohnSmith
David Bowie • Arena Rock • BBC TV • 1978
David Bowie • Arena Rock • BBC TV • 1978
3 months ago
David Bowie • Arena Rock • BBC TV • 1978 Video Source: Arena Rock • BBC Broadcast Archive • Directed by Nigel Finch • Produced by Alan Yentob • Broadcast 24th May 1978 Music by David Bowie: Ziggy Stardust • Live in Dallas • 1978 Neuköln • from "Heroes" • 1977 Hang on to Yourself • Live in Dallas • 1978 Sound and Vision • from Low • 1977 Alan Yentob interviews Bowie in this enjoyable and intelligently made 15 minute BBC TV feature from 1978. The feature was recorded and broadcast during the 1978 Isolar II World Tour. It was produced by Bowie’s old mate Alan Yentob, who in 1974, produced the brilliant "Cracked Actor" - probably the greatest Bowie documentary ever made. Arena Rock features an interview that covers Bowie’s changing perspective on his music and fame, his feelings about the tour and the Just A Gigolo movie. Also featured are live tracks and Bowie and Brian Eno’s instrumental from the “Heroes” album, Neuköln, set to a visual collage of (then) contemporary Germany. Excerpts from the interview have been used in the BBC documentaries, Five Years and The Last Five Years, and in the Bowie Is exhibition. I have also used excerpts in some of my own videos. Arena Rock was, as far as I can tell, a relatively short-lived offshoot of the long running BBC Arena art and documentary series. Alan Yentob helped initiate the Arena series in 1975, and remained the editor of the show until 1985. The Arena Rock episode with David Bowie (and The Tubes) was broadcast on BBC2 on the 29th May, 1978. Through the window, behind Bowie is the unmistakable Köln Dom (Cologne Cathedral). So in all likelihood, the recording date of the interview was May 19th 1978, the day of Bowie's concert at the Sporthalle, Cologne. 00:18 Ziggy Stardust • Live in Dallas 02:00 Interview 04:55 Neuköln 06:02 Interview 09:02 Hang on To Yourself • Live in Dallas 11:39 Interview I originally edited and uploaded this show a few years ago. Having accumulated further sources since then, this is a significant quality upgrade. I edited the intro specifically for this video, taken from the Bowie parts only of the original show intro. Hope you dig it! More videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe Nacho's Videos RUvideos.com/nachomarcho Vimeo.com/NachosProductions #DavidBowie #NoShitSherlock #Absoluteruhebitte #Heroes #Low #IsolarII #Stage #AlanYentob #Neuköln #SoundandVision #JustaGigolo #Cologne
Echo And The Bunnymen • All That Jazz • Live at the Pavilion Gardens, Buxton • 17 January 1981
Echo And The Bunnymen • All That Jazz • Live at the Pavilion Gardens, Buxton • 17 January 1981
4 months ago
Echo And The Bunnymen • All That Jazz • Live at the Pavilion Gardens, Buxton • 17 January 1981 Musicians: Ian McCulloch • vocals, guitar Will Sergeant • lead guitar Les Pattinson • bass Pete de Freitas • drums Video Source: Shine So Hard • Directed by John Smith • Produced by Bill Butt • Director of Photography Patrick Duval • Released 13th of August 1981 Audio Source: Shine So Hard EP • Produced by Bill Drummond & Hugh Jones • Released 10th April 1981 Echo & the Bunnymen’s All That Jazz, was originally a track from their 1980 debut album Crocodiles. Here it is performed live in early '81, from the Shine So Hard movie, and it’s accompanying soundtrack EP. ~ In late 1980 and early 1981, Echo and the Bunnymen were promoting their debut album Crocodiles. A concert held at the Pavilion Gardens in Buxton, Derbyshire on 17 January 1981, was used as the basis for a short film called Shine So Hard, that was commissioned by Warner Brothers, the bands label. Live sound was recorded by the Manor Mobile. Four songs from the concert, "Crocodiles", "Zimbo", "All That Jazz" and "Over the Wall", were mixed at Rockfield Studios in Monmouth, Wales and included in the film, and the Shine So Hard EP. The film was screened at the BFI in London, in August 1981. A limited edition of 500 videos of Shine So Hard were subsequently released in 1982. These were (supposedly) made available only to people who had been present at the concert. When the Crocodiles album was remastered and reissued in 2003, remastered versions of the four songs from the EP were included as bonus tracks. ~ Of all the great bands I loved as a young teenager in 1980/81, it was Echo and the Bunnymen that really struck the chord I was searching for. The songs and clothes and hair and attitude were just perfect. The Bunnymen had mystique, and a big part of that was their decidedly odd 1981 short film, Shine So Hard. The film is fragmentary and abstract; it alternates between obscure arty vignettes of the four band members, to Bunnymen performances of their magnificent and moody rock n’ roll. I bought the Shine So hard 12" EP in the spring of 1981, and played it to death. It was really well produced, played and sung. All That Jazz was a stand out; I loved the crisp drumming, funky bassline, raw guitars and the ironic military apocalyptic lyrics were the perfect compliment to the army surplus style the band (and a little later me) were sporting. However, I didn’t get to see the film when it was shown at at the ICA in London, in August 1981, and I didn't get a copy of it’s rare VHS release in 1982. I did watch a grainy second-generation copy of the VHS, on my parents small TV. It was a woefully inadequate experience, and I’ve wanted to see a high quality copy ever since. Ask and thou shall receive - I recently posted a video I made for Zimbo from poor quality Shine So Hard footage sources, and in the accompanying notes, I asked the universe if there were any good quality sources of the Shine So Hard film out there. And lo and behold, in recent weeks an excellent quality digital transfer has come my way. To finally see after 35 years, a great quality copy of Shine So Hard made me very happy! But I saw room for improvement. There were issues with the running speed that needed correction, and I knew I could add real value by mixing in the 2003 remastered versions of the Shine So Hard EP material. And so it gives me enormous pleasure to offer the first video of one the individual live tracks from Shine So Hard, in really great sound and vision. More to come, including in due course the entire film. Hope you dig it! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe Facebook.com/TheNachoVideos RUvideos.com/nachomarcho Vimeo.com/NachosProductions nachomarcho@gmail.com #EchoAndTheBunnymen #ShineSoHard #Crocodiles #JohnSmith
David Bowie • Interview • Hotel de L’Europe • Amsterdam, Holland • 14 October 1977
David Bowie • Interview • Hotel de L’Europe • Amsterdam, Holland • 14 October 1977
4 months ago
Here is a new 30-minute version of the interview with David Bowie, at the Hotel de L’Europe in Amsterdam, on the 14th of October 1977. _ After recording and mixing the “Heroes” material in July and August 1977, Bowie went on a 2-month promotional tour around Europe. He recorded performances and interviews for TV shows, shot the “Heroes” video and TV Ads, and he met with the press. It was unprecedented for Bowie to do so much promotion, especially since earlier in ‘77, he’d done virtually none for the Low album. The tour started in the UK on September 7th, recording the Marc Bolan TV show. The final leg of the tour began in Hilversum, Holland on October 13th, with a Gold Disc presentation and a performance of “Heroes” for the TV show TopPop (David Bowie • AVRO TopPop • October 13th 1977 vimeo.com/291475113). The following day, Bowie gave interviews for the Dutch press in Amsterdam. Of all the filmed material from the tour, it is this almost uninterrupted 30-minute interview that gives us the most comprehensive view of the “Heroes” era Bowie. And in fact, it is one of the most substantial filmed Bowie interviews from the ‘70’s. “This is the first time I’ve done this kind of interview for an album. And I must be quite honest; the reason I’m doing it is because I want to give the album every chance that it can get.” Elly de Waard, another interviewer on the day, wrote in 1977 (trans. from Dutch): “David Bowie is sitting on a couch in a suite of Hotel de L’Europe in Amsterdam… (He) is dressed in a pale yellow T-shirt with a Chinese character on the chest, ("It's Hong Kong Chinese," he says at a question from me), khaki tapered trousers… and natural leather boots. It's '77, so needless to say, Bowie looks great. The T-shirt he's wearing, supposedly "borrowed" from John Lennon, has the character 武 (Pron. "Wu", meaning martial, fierce, valiant). And his footwear is a pair of dark green wooden clogs. Bowie’s mind is moving fast in the interview. So fast, that he’s sometimes trying to second-guess the questions, and answer them without perhaps having fully understood them. When he talks about the inspiration for the “Heroes” lyrics (we know now) he’s telling an elaborate fiction. He doesn't seem too happy to be reminded of some of his “half-baked” (Bowie’s own term) philosophies and statements from the past. And he is at times perhaps unnecessarily combatant with the two interviewers. During the interview, Bowie is drinking his favorite L.A. days white fluid, and he quite frequently takes sharp sniffs. So it would not be unreasonable to surmise that he’d had a relapse, and was back on the white powder too. However, Elly de Waard provides us with the likely reason for the aforementioned behavior. Again, from her ’77 article: “(Bowie) has a fever because he had a typhoid injection the day before... Because he has a fever, he speaks very quickly and almost constantly… Bowie says his head is like a rubber ball that shrinks and expands with the room and makes him feel like he's just smoked very strong hashish. "Give me another one!" He calls almost comically to an imaginary person behind his back. However, he just smokes the Gitanes, which have been part of his image for several years, and he borrows my lighter because his own was pocketed by the previous visitor. Finally, he will keep mine and I gladly grant him that; I consider it a minor remedy for the beautifully embroidered futuristic jacket that I took from him at a meeting in February 1974.” Elly de Waard famously knicked Bowie’s Freddie Burretti jacket at the 1974 Amsterdam press conference because, she said, she was angered that he wouldn’t grant her an interview. Later, she titled her memoir, Het Jasje van David Bowie (“David Bowie’s Jacket”). After the press conference that day, Bowie left for Paris and continued his promotional duties there and then in London. On October the 21st he flew to Kenya with his son Zowie (Duncan). He talks of the Kenya trip in his interview with Flo and Eddie in New York a few weeks later. There is one photo of Bowie in Kenya. He’s with two Masai tribe people, and he is wearing the same green clogs he wore in the Amsterdam interview. He is also wearing them in the June '77 Hong Kong shot with John Lennon, in which Lennon is wearing the 武 T-shirt. _ Sources: RKO interview outtakes • 14 October 1977 “Het Pop Gebeuren” • TV broadcast • 6 November 1977 David Bowie KRO Interview • Radio Broadcast • November 1977 Hope you dig it! More videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan, making videos for other fans. Please Share, Like, Comment, Subscribe Facebook.com/TheNachoVideos RUvideos.com/nachomarcho Vimeo.com/NachosProductions #DavidBowie #Heroes #Berlin
David Bowie • Interviewed by Janet Street Porter • Backstage at Earls Court, London • June 30th 1978
David Bowie • Interviewed by Janet Street Porter • Backstage at Earls Court, London • June 30th 1978
4 months ago
David Bowie • Backstage interview by Janet Street Porter • Earls Court, London • June 30th 1978 An approximately five minute interview with David Bowie, filmed backstage at Earls Court arena, literally minutes before he goes on stage. The interview is by English media personality, journalist and broadcaster, Janet Street-Porter, CBE. The interview was shot by London Weekend Television, and was included in their David Bowie Special, broadcast the following week. “In June 1978, I was presenting a television show for young people when I got a call from David Bowie's PR to say the living legend had decided I should interview him. He'd watched one of my music documentaries, and was impressed by my lurid dyed burgundy hair - a style he'd sported in The Man Who Fell to Earth. "I was told to present myself backstage at Earls Court, an hour before his show. We met in his dressing room, where he was completing his preparations. After a preliminary chat about friends in common… with a capacity crowd screaming their heads off, we were filmed walking together right to the point where he stepped out in front of the crowd. "I had about twenty minutes of his undivided attention, with no retakes. Bowie showed no nerves, just extremely good manners. "Heroes" became my anthem for over a decade.” - Janet Street Porter, CBE in 2013 & 2016 • Source: Earls Court, London • July 30th 1978 • From the ITV London Weekend Television David Bowie Special • Broadcast July the 9th, 1978 • There has never been a really good quality, complete version of this interview online before, and it is something I regularly receive requests for. I have been collecting material from the LWT special for several years, slowly piecing the show back together. Along with other sources, the final goal is to produce my own David Bowie is Live at Earls Court 1978 film, to be released on the anniversary of those Earls Court shows. However, another June 30th is upon us, and still my film isn’t finished. So in the meantime, here’s Janet Street-Porter interviewing David Bowie, approximately 8pm, June 30th, 1978. Hope you dig it! More videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe Nacho's Videos RUvideos.com/nachomarcho Vimeo.com/NachosProductions #DavidBowie #Heroes #IsolarII #Stage
John Martyn • Outside In • Live on The Old Grey Whistle Test • 16 October 1973
John Martyn • Outside In • Live on The Old Grey Whistle Test • 16 October 1973
5 months ago
John Martyn • Outside In • Live on The Old Grey Whistle Test • 16 October 1973 Musicians: John Martyn - guitar, vocals Danny Thompson - double bass Sources: Audio & Video: John Martyn “Outside In”, recorded live on BBC TV’s The Old Grey Whistle Test. Broadcast 16 October 1973. The complete John Martyn 16 October 1973, Old Grey Whistle Test broadcast, including Make No Mistake, is available here: vimeo.com/340792350 There were no new John Martyn albums in 1972 and 1974. But in 1973, there were two. Solid Air, released in February '73, was quite a big commercial and critical success, an album of great songs combining elements of folk, jazz, blues and space rock. After Solid air's release, Martyn quickly recorded the material for Inside Out, over a few days in March, in the early hours of the morning. The material was much more experimental in nature, with John delving deeper into his Echoplex experimentations. Inside Out was released in October '73. It was an album with emphasis placed on feel and improvisation rather than song structure. The Echoplex tape delay effect is very much to the fore on Outside In. Martyn's live versions in the mid-'70's could run to around 20 minutes, moving into deep and experimental sound universes. Here on "this nice family show" version, we get a mere 5 minutes, but it's enough to appreciate Martyn's mastery of the Echoplex, and of the incredible musical connection between him and Danny Thompson. Going from the sublime to the ridiculous, the performance ends with with a little raucous comedy moment from Marytn in folk-hooligan mode. But as 'Whistle Test presenter, Bob Harris put's it, "Well, that was John Martyn". Hope you dig it! More videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe Facebook.com/TheNachoVideos RUvideos.com/nachomarcho Vimeo.com/NachosProductions #JohnMartyn #InsideOut #DannyThompson
Joni Mitchell • Trouble Child • Live at the New Victoria Theatre, London • 22 April 1974
Joni Mitchell • Trouble Child • Live at the New Victoria Theatre, London • 22 April 1974
5 months ago
Joni Mitchell • Trouble Child • The New Victoria Theatre, London • 22 April 1974 BBC TV • The Old Grey Whistle Test • Broadcast 19 November 1974 Musicians: Joni Mitchell • Vocals, Guitar Tom Scott • Woodwinds, Reeds Max Bennett • Bass John Guerin • Drums Roger Kellaway • Piano Robben Ford • Guitar “There are two kinds of people in the world: those who find Joni Mitchell depressing, and those who, already depressed, find her comforting” - Clifford Chase. Trouble Child was originally from Joni Mitchell’s 1974 album, Court and Spark. The album was her great leap forward, taking onboard new musical complexities, but still retaining her lyrical staple of beautifully articulated anxiety, inadequacy and insecurity - shame, guilt, loneliness, depression, heartbreak among them. Trouble Child is the penultimate song on Court and Spark. But since I always skip the final track, the mood spoiling joke song, Twisted, my listens to Court and Spark, always finish with the brilliant and foreboding Trouble Child. “…one of the most grown-up records ever made, in that the things she's talking about and thinking about, are such serious and complicated emotional situations …it had a big impact on what I was working on at the time, which was Another Green World. When I heard this record I really thought that I've got to change what I'm doing... It is the best-engineered album you've ever heard. The engineer Henry Lewy was obviously one of those great engineers…” - Brian Eno In 1973, there was no new Joni Mitchell album, and she played only 4 shows. Instead Joni spent most of the year in the studio writing and then recording Court and Spark with producer / engineer Henry Lewy. Joni was frustrated at being marginalized by the male rock musicians she hired, “So it was difficult as a female to guide men into playing [what I wanted] …Finally a drummer said, 'Joni, you're going to have to play with jazz musicians.' So I started scouting the clubs, and I found the L.A. Express. The L.A. Express was a jazz-fusion band. The debut album, Tom Scott and the L.A. Express, released in late ’73, was recorded around the same time as Court and Spark. They were a formidable band - have a listen to Sneakin’ in the Back, from the debut album ruvideos.org/uHrTzqmw6Mo-video.html. A great groove, not dissimilar to Trouble Child, and instantly recognizable, having been sampled by Massive Attack and many others. In late ’73 and early ’74 Joni and the band rehearsed for the upcoming tour. “I was 19… at a recording studio in Hollywood… I was told that Joni Mitchell was rehearsing in another room down the hall. Noticing the door open, I walked in and sat down by myself on an old couch facing Joni and her band. Amazingly, no one told me to leave. They were "jazzifying" all of Joni's old songs-as we'd soon hear on her 1974 live album, "Miles of Aisles" and it was incredibly exciting to listen to them tweak a chord progression until they got it just right.” - Margy Rochlin The 1974 live album Miles of Aisles, featured only one track from Court and Spark. That fact alone, makes the New Victoria Theater material very valuable, featuring as it does, most of the songs from Court and Spark. It’s likely the original Whistle Test TV broadcast in May ’74 was just a couple of tracks. Then later in the year, an entire 40-minute episode was given over to 9 songs from the show. Softly-spoken hippie-muso presenter of The Whistle Test, “Whispering” Bob Harris, introduced the performance with considerable enthusiasm, “I honestly think she’s almost faultless; a sensitive, imaginative and graceful performer…’ It seems the BBC shot the entire show, and 80 minutes has been collated, mostly in quite low quality: ruvideos.org/pvZ3j4DQLVk-video.html ‘74 to ’76; Court and Spark and it’s majestic follow-up, Hissing of Summer Lawns, is peak-Joni for me. Yet, if you search on the web for any footage from the era, you will find almost nothing, except the New Victoria Theater material, in mostly poor quality. That the entire show isn’t available to us in great quality, is a very serious crime against art. It always frustrates me to think of how much great material from the last 50 years or so, is just pointlessly and uselessly sitting gathering dust in an archive somewhere. But here at least is one of the highlights from the show, Trouble Child in reasonable picture quality and pretty great sound. At the end of the November ‘74 ‘Whistle Test broadcast, Bob Harris comes into view gently nodding in appreciation, and he softly pronounces, “Well, that was great”. Hope you dig it! More videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe Facebook.com/TheNachoVideos RUvideos.com/nachomarcho Vimeo.com/NachosProductions #JoniMitchell #CourtandSpark #TomScott #LAExpress #MilesofAisles
David Bowie • Rebel Rebel • 1974 • Original Single Mix • 2019 Remaster
David Bowie • Rebel Rebel • 1974 • Original Single Mix • 2019 Remaster
6 months ago
David Bowie • Rebel Rebel • 1974 • Original Single Mix • 2019 Remaster Audio: David Bowie • Rebel Rebel • Original Single Mix • 2019 Remaster • Likely recorded at Trident Studios and Olympic Studios, London • December 1973 - January 1974 Video: TopPop Studios, Hilversum, Holland • February 13, 1974 Press conference, Amstel Hotel, Amsterdam • February 13, 1974 Musicians: David Bowie • Vocals, Guitar, Percussion Herbie Flowers • Bass: Mike Garson • Piano: Tony Newman • Drums: Produced by David Bowie In celebration of the 45th anniversary of Diamond Dogs, there is a 1-track digital single of the original single mix of Rebel Rebel released today. The original single mix of Rebel Rebel featured on the 2016 boxset 'Who Can I Be Now?’ was taken from a pristine copy of a 45rpm vinyl single from the time. The original tape (which had been missing since the mid-1970s), has now been discovered and remastered for this special one-track digital single. The newly discovered and mastered version, has here been synced to the classic video sshot at the TopPop studios in Hilversum, Holland, directed by Rien van Wijk. It was broadcast on 4 March 1974. In the absence of a video clip for Rebel Rebel, the TopPop performance has become the defacto official video. Later that same day, February 13, 1974. Bowie attended a press conference, at the Amstel Hotel, Amsterdam, where he received an Edison award for 'Ziggy Stardust and the Spiders From Mars'. Bowie wore a Freddie Burretti-designed outfit, that was inspired by Carmen, the flamenco rock group that had appeared on the 1980 Floor Show, in October 1973. Bowie: "I had conjunctivitis, so I made the most out of it and dressed like a pirate. Just stopped short of the parrot. I had this most incredible jacket that I was wearing that night. It was a bottle-green bolero jacket that Freddie made me, and he got an artist to paint, using the appliqué technique, this supergirl from a Russian comic (Octobriana) on the back. But I took the jacket off during the press conference, and somebody stole it." At the end of the video, I've included a little footage from that Amsterdam conference, and that jacket! Hope you dig it! More videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe Facebook.com/TheNachoVideos RUvideos.com/nachomarcho Vimeo.com/NachosProductions #DavidBowie #RebelRebel #DiamondDogs
David Bowie • Discipline • 27 November 1975
David Bowie • Discipline • 27 November 1975
6 months ago
David Bowie • Discipline • 27 November 1975 Source: David Bowie on the London Weekend Television Show Russell Harty Plus, 27 November 1975. A testy Bowie, making perhaps his first TV appearance in Thin White Duke mode. He takes exception to an inference that he is a typical lazy rock star, and explains his definition of discipline. An extract from a live interview, held on the Russell Harty show, on UK TV. The interview was via satellite, a revolutionary thing in those days. Harty was in the London Weekend Televison studios, and Bowie was in Los Angeles, “In Beautiful downtown Burbank”, as Harty put it. DB: A discipline doesn't mean that you make sure that you have breakfast at eight o'clock in the morning and you are out of the house by half past eight. A discipline is that you… if you conceive some thing, then you decide whether or not it's worth following through, and if it's worth following through, then you follow it through to its logical conclusion, and do it with the best… to the best of your ability. That's a discipline, yes? RH: I applaud that answer… DB: Whether there are areas in it that are not to one's liking, you have to go right the way through it and do it. And that's what I do. It’s such a great television moment, and yet I couldn’t find a good quality and succinct version online. And so, here it is… Hope you dig it! More videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe Facebook.com/TheNachoVideos RUvideos.com/nachomarcho Vimeo.com/NachosProductions #DavidBowie #TheThinWhiteDuke #StationToStation #RussellHarty
David Bowie • Beauty and the Beast • Live 1978
David Bowie • Beauty and the Beast • Live 1978
6 months ago
David Bowie • Beauty and the Beast • Live 1978 Audio: David Bowie • Beauty and the Beast from “Welcome to the Blackout” • Recorded June 30th, 1978 • Produced by David Bowie • Mixed by David Bowie and David Richards, January 17th - 22nd, 1979 • Original recording made by Tony Visconti Video: Concert footage • December 12th, 1978 • NHK Hall, Tokyo • Final night of the Isolar II 1978 tour Interview • November 1978 • News Conference • Sydney, Australia Musicians: David Bowie • Vocals Dennis Davis • Drums Carlos Alomar • Rhythm guitar, backing vocals George Murray • Bass Adrian Belew • Lead guitar Simon House • Violin Sean Mayes • Piano, string ensemble, backing vocals Roger Powell • Synthesizer, keyboards, backing vocals David Bowie’s Isolar II 1978 World Tour, also known as The Low / “Heroes” World Tour or The Stage Tour, opened on the 29th of March, 1978 at the San Diego Sports Arena. The tour continued through North America, Europe and Australia and New Zealand before reaching a conclusion at the NHK Hall in Tokyo, on the 12th of December, 1978. Eighty dates were played, with a total attendance of almost 1.2 million people. Beauty and the Beast The show was roughly divided in half, with an intermission in the middle. It was mostly new material in the first half, and mostly older material in the second half. The first half of the show would invariably end with either Fame, or with Beauty and the Beast. The latter was the angular, abrasive opening track of the “Heroes” album. It was the follow-up single to “Heroes”, but had failed to make the charts, probably due to what NME editors Roy Carr and Charles Shaar Murray described as it’s "jarring, threatening edge”. The menacing mood of Beauty and the Beast was entirely appropriate for the lyrical content, which was in all likelihood about Bowie’s schizophrenia and severe mood swings, during his cocaine-addicted L.A. days. My my… In my fantasy retooling of the “Heroes” era, not only are the tracks on the album reordered, but in addition the follow-up single to the title track would be Secret Life of Arabia b/w Beauty and the Beast. The 12” release would contain an extended disco edit of Secret Life of Arabia. I’d also have Bowie and Stanley Dorfman, who was directing the Bowie videos at the time, shipped off to Wadi Rum in Jordan to shoot a Lawrence of Arabia-themed promo video, with Bowie camping it up as Lawrence, resplendent in his white Arabian Prince finery. Smile at least… The live version of Beauty and the Beast jacked up the funk element considerably, and on the evidence of this dynamite performance, it’s easy to see why it was chosen to end the set. Bowie, The D.A.M. Trio (Davis/Alomar/Murray), Belew and the whole team absolutely excel on this blazing version of Beauty and the Beast. To these ears it’s not only the best version of it that I’ve heard from the tour, it’s also one of the best performances of any song from those shows. As Bowie continually said in the interviews from the era, he had no characters to play on that tour. The emphasis was on the spectacular music. And the visual element was the light show, and to some extent Bowie's curious tour wardrobe. You can’t say no… After the ‘78 tour, Bowie never played Beauty and the Beast again. It’s a pity in some ways, as it’s just such a great song. But then again, perhaps that beautiful monster groove was best left exclusively in the hands of the Berlin Bowie and his mighty D.A.M. Trio, who sadly would never reunite for another tour. ____ I’ve chosen to produce this video now, to help promote the latest The HD Projects video: Tracing My Dad • Vol. 10 • Tony Visconti discusses Dennis Davis and David Bowie • Part 3 [ 77/78 ] ruvideos.org/DqqhA4v7SUg-video.html The video is part of an interview series with producer Tony Visconti. This volume focuses on the “Heroes” and ’78 tour era, and it features an excerpt of this Beauty and the Beast • Live 1978 video. If you haven’t checked out young Hikaru Davis and his The HD Projects, please take a look. ____ This video completes my series of live videos of the four “Heroes” tracks that were played on the 1978 tour: “Heroes” Blackout Sense of Doubt Beauty and the Beast Hope you dig it! More videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe Facebook.com/TheNachoVideos RUvideos.com/nachomarcho Vimeo.com/NachosProductions #DavidBowie #Heroes #TheDAMTrio #IsolarII #WelcomeToTheBlackout
David Bowie • Boys Keep Swinging • The Kenny Everett Show • April 23, 1979
David Bowie • Boys Keep Swinging • The Kenny Everett Show • April 23, 1979
7 months ago
David Bowie • Boys Keep Swinging • The Kenny Everett Show • April 23, 1979 Audio: David Bowie • Boys Keep Swinging • Special version produced for the Kenny Everett Show, recorded by Tony Visconti at Good Earth Studio, Soho London, 9th April, 1979 on the 9th April 1979 Video: An excerpt from The Kenny Everett Show • Series 2 • Episode 9 • Broadcast on the 23rd of April 1979 • Directed by David Mallet Musicians: David Bowie • Vocal Brian Robertson • Guitar Ricky Hitchcock • Guitar Tony Visconti • Bass Andy Duncan • Drums Simon House • Violin Sean Mayes • Keyboards Tony Visconti • Production Forty years ago today, on Monday 19th of February 1979, at 7pm, Bowie performed Boys Keep Swinging on the Thames TV program The Kenny Everett Show. For most Bowie fans, it was the first time they were hearing the new material from the forthcoming album, Lodger. It had been a long 18 months for Bowie fans, since the release of the “Heroes” album in October ’77. The Boys Keep Swinging single wouldn’t be released for another four days. And when came, it was a different version to the one aired on The Kenny Everett Show, with a different video to accompany it. The Kenny Everett Show would be the first time Bowie worked with director David Mallet. Bowie was sufficiently impressed with the results, that he also shot the official Boys Keep Swinging video with Mallet, using the same set from The Kenny Everett Show. Bowie and Mallet would continue to work together on subsequent videos for Lodger songs, and up to the Ashes to Ashes and Fashion videos in 1980. Arguably, The Kenny Everett Show audio and video of Boys Keep Swinging are more satisfying than the official versions. Yes, we are lacking Belew’s marvelous screaming guitar break, from the Lodger version, and the three Bowie's in drag from the official video. But I really like the “live” vocal and the rough edges of this version. And Bowie looks spectacularly beautiful here, sporting what looks to be a black boiler suit, sandals, and white nail polish, clearly enjoying himself performing his new song. _____ This video of the The Kenny Everett show performance of Boys Keep Swinging, is a matrix I've put together from several sources; an attempt to create the most complete and best quality version thus far made available. Hope you dig it! Always more videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe Facebook.com/TheNachoVideos RUvideos.com/nachomarcho Vimeo.com/NachosProductions #DavidBowie #Lodger #TonyVisconti #KennyEverett #DavidMallet
David Bowie • A New Career in a New Town • 1977
David Bowie • A New Career in a New Town • 1977
7 months ago
Audio: David Bowie • A New Career in a New Town • From the album Low. Video: The Man Who Fell to Earth • Directed by Nic Roeg • 1976 News From Home • Directed by Chantal Akerman • 1976 Musicians: David Bowie • Tap Sax Section, Harmonica, Piano Carlos Alomar • Rhythm Guitar Dennis Davis • Drums Brian Eno • All Synthetics Ricky Gardener • Guitar George Murray: Bass Roy Young • Piano David Bowie & Tony Visconti • Production This video has been on the cards for a couple of years. The first minute or so started out as part of my 2017 documentary David Bowie is The Man Who Fell to Earth vimeo.com/221740373. After I put out that film, Catt and Melinda at The Church of David Bowie asked me several times to expand on the ANCIANT section, and create a stand-alone video for the track. And so this video is dedicated to Catt, Melinda and all the great gals, and guys, at CoDB. XO facebook.com/groups/churchofdavidbowie I’m putting out this video now, to help promote the latest The HD Projects film, which also incorporates another proto version of this ANCIANT video: Tracing My Dad • Vol. 10 • Tony Visconti discusses Dennis Davis and David Bowie • Part 2 [76/77] ruvideos.org/IjcA3cdg5fw-video.html The HD Projects is Hikaru Davis, who is the young son of Dennis Davis, David Bowie’s drummer between 1974 and 1980. I’ve been helping Hikaru with his project since 2016, and the current video is the second, in a series of four I have made, from a recent exclusive interview with music producer Tony Visconti. Each video focuses on a specific phase of Tony’s work with Bowie and Dennis. The current one focuses on the making of David Bowie’s album, Low. Please follow Hikaru and his The HD Projects: facebook.com/thehdprojects ruvideos.org/u/thehdprojects IG thehdprojects ____ “You know, there is a vast difference between loneliness and aloneness. (Aloneness) is a state of freedom which comes into being when you have gone through loneliness and understand it. In that state of aloneness you don't rely on anyone psychologically because you are no longer seeking pleasure, comfort, gratification. It is only then that the mind is completely alone, and only such a mind is creative." "It’s beautiful to be alone. To be alone does not mean to be lonely. It means the mind is not influenced and contaminated by society." - J. Krishnamurti Low is often called Bowie’s blues album. He doesn’t sing on A New Career in a New Town, but that’s him on Harmonica, the traditional instrument of the blues, lending the track a gorgeous feeling of aloneness and new possibilities. As Chris O’Leary points out on his Pushing Ahead of the Dame blog, “Bowie’s harmonica stands out in part because it’s the least-treated, and so the most “organic,” instrument in the mix”. The mix being of course; Eno’s beautiful synthetics in the “verses", and the heavily processed rock band instruments in the "choruses”. Notable in the latter, is Dennis Davis famously Harmonizer-pitch-shifted snare drum. If you listen carefully, I think you can hear how the effect on the snare is often alternating between hard and soft, one snare hit after another. According to Tony Visconti, Dennis figured out that if he hit the snare in different ways, he could trigger the Harmonizer to create differing sounds. Bowie’s lonesome harmonica in A New Career in a New Town, reminds me of John Barry’s harmonica-driven Theme From Midnight Cowboy, from the wonderful 1969 movie of the same name, by John Schlesinger. Midnight Cowboy’s narrative starts out with a young man full of dreams, traveling to New York City, only to find himself there unsuccessful, ripped off, and desperately lonely. ruvideos.org/sOZYT8nX2X4-video.html What else was Bowie telling us with this track, and it’s title? Certainly in it’s placing as the final track on side 1 of Low, ANCIANT IS indicating the new musical direction of side 2. Is it also hinting at the “new” Bowie, settling into his desperately needed return to Europe and the anonymity of his new life in Berlin? Back when I made the David Bowie is The Man Who Fell to Earth documentary, I liked the idea of using A New Career in a New Town cut with The Man Who Fell to Earth footage of Newton doing business deals in New York with patent lawyer, Farnsworth. Initially Farnsworth is wary of Newton, and skeptical about his ideas. But after an entire night scrutinizing Newton’s extraordinary blueprints, Farnsworth is astonished... Hope you dig it! More videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe Facebook.com/TheNachoVideos RUvideos.com/nachomarcho Vimeo.com/NachosProductions #Low #BrianEno #DennisDavis #CarlosAlomar #TonyVisconti #TheManWhoFelltoEarth #NicRoeg
John Martyn • Lookin’ On • Live on The Old Grey Whistle Test • January 10th 1981
John Martyn • Lookin’ On • Live on The Old Grey Whistle Test • January 10th 1981
9 months ago
John Martyn • Lookin’ On • Live on The Old Grey Whistle Test • January 10th 1981 Audio & Video: John Martyn “Lookin’ On”, recorded live on BBC TV’s The Old Grey Whistle Test. Broadcast date January 10th 1981. Recording date unknown, likely to be late December 1980. Musicians: John Martyn - guitar, vocals Phil Collins - drums, backing vocals Alan Thomson - bass Tommy Eyre - keyboards, synthesizers Danny Cummings - percussion John Martyn died in January 2009, ten years ago this week. I saw him live many times. The first time was in the early 80’s, not long after the release of the Grace and Danger album. His beautiful, laid back stoner charm, and gorgeous singing and playing blew me away. John Martyn produced some extraordinary albums in the 70’s. Tho’ he was a mainstay of the British Folk Music scene, known for his fine songwriting, masterful acoustic guitar playing, and soulful singing, he was never a standard Folkie. Quite early on in his career he began to incorporate jazz and rock into his sound on albums such as the sublime Solid Air (1973). By the time of One World (1977) Martyn was also revered for his breathtaking electric experimentation, running his acoustic guitar through effects and tape delay machines such as Echoplex. John Martyn’s Grace and Danger album was released on Island Records in October 1980. In musical terms, it was a more conventional offering than it’s predecessor, but the themes and mood of heartbreak and loneliness were deeply moving. The material had actually been recorded in the summer of the previous year. However, Grace and Danger was delayed for over a year by Island Records owner, Chris Blackwell. The album was conceived during John Martyn’s painful divorce with his wife Beverly, and Blackwell who was a friend of both John and Beverley, found the album too depressing too release. Phil Collins, contributed drums and backing vocals to the album. Collins often gets a bad rap, criticized for making bland and smug pop hits that were omnipresent in the 80’s. However, in the mid to late 70’s his drumming was quite brilliant. Collins was a workaholic; as well as playing in his art/prog rock outfit Genesis, he was also part of a jazz rock band called Brand X. In addition, he was an in demand session drummer, playing on some amazing albums including Brian Eno’s early albums - Taking Tiger Mountain, Before and After Science and Another Green World. He also played on Robert Fripp’s 1977 Exposure album and on Peter Gabriel’s influential III album in 1980, helping to create the ground breaking gated reverb drum sound on that record. John Martyn and Phil Collins, forged a deep friendship during the writing and recording of Grace and Danger. Like Martyn, Collins was also going through a traumatizing divorce at the time. According to legend, Martyn would stay at Collins house, and the pair would be up all night drinking and writing and recording songs in Collins makeshift home studio. Much of Phil Collins debut album, Face Value also took it’s genesis (pun intended!) from these sessions, and the two albums share many similar themes. There is evidence of Martyn and Collins ongoing kinship over the years. Collins features in the 2004 John Martyn BBC documentary “Johnny Too Bad” talking about the recording of Grace and Danger. And at the 2008 Folk Awards, Collins kisses Martyn on the forehead as he presents him with an award. Martyn was by then wheelchair bound, but is still cracking self-deprecating jokes: ruvideos.org/03UxXzXXvSw-video.html John Martyn died the following year, aged 60. The January 1981 Whistle Test performance happened 18 months after the Grace and Danger recording sessions, the album had by then finally been released. The pair of songs performed are the only known filmed performance of tracks from the Grace and Danger era to feature Phil Collins and the sound on the this great Whistle Test performance is very close to that of the album. I have synced the video material to the excellent quality audio of the same performance, available on the 2007 Grace and Danger Deluxe reissue. Hope you dig it! More videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe Facebook.com/TheNachoVideos RUvideos.com/nachomarcho Vimeo.com/NachosProductions #GraceandDanger #PhilCollins
David Bowie • Can You Hear Me • Live from The Philly Dogs Tour • 1974
David Bowie • Can You Hear Me • Live from The Philly Dogs Tour • 1974
9 months ago
David Bowie • Can You Hear Me • Live from The Philly Dogs Tour • 1974 Audio & Video: David Bowie • Can You Hear Me, recorded live on The Philly Dogs Tour. Unknown U.S. venue, between the 8th of October and the 30th of November, 1974. Musicians: • David Bowie - vocals • Mike Garson - piano, mellotron, music director • Earl Slick - lead guitar • Carlos Alomar - rhythm guitar • Emir Kasan - bass • Dennis Davis - drums • David Sanborn - alto saxophone, flute • Pablo Rosario - percussion • Warren Peace - backing vocals • Ava Cherry - backing vocals • Robin Clark - backing vocals • Anthony Hinton - backing vocals • Diane Sumler - backing vocals • Luther Vandross - backing vocals Having recently uploaded David Bowie • Jean Genie • Live at The Tower Theater • July 1974 (vimeo.com/314506953) here's another previously unseen '74 treasure, dragged kicking and screaming from the David Bowie Is app, dutifully finessed and uploaded for your viewing and listening pleasure! To my knowledge, this is the only video of a full song, and the only soundboard recording from the third and final leg of Bowie’s ’74 shows, the so-called “Philly Dogs Tour”. So, from my perspective, this is indeed quite a treasure. The ’74 tour resumed in early October, after recording sessions for the Young Americans album. The shows had become almost unrecognizable from the earlier part of the Diamond Dogs tour. Gone was Hunger City and the elaborate staging. The set-list was also very much changed, and only Mike Garson, Earl Slick & David Sanborn remained from the original touring band. Significantly, the rhythm section of the band had now become Carlos Alomar on guitar, Dennis Davis on drums and Emir Kazan on bass. This was the band that would a few weeks later, in January '75, record "Fame". And then later that year, with Emir Kazan being replaced by George Murray, the D.A.M. Trio were formed - that band that would be the backbone of Bowie’s music until Scary Monsters, in 1980. Another significant difference with the Philly Dogs shows, was the additional backing singers. At the beginning of the tour there had been two backing singers, whereas the Philly Dogs shows boasted six, including Luther Vandross. Unfortunately the overall quality of this video is not great. Visually, it’s a fairly distant fuzzy one-angle take. It was likely either shot on unsophisticated equipment, or has been poorly transferred and/or has deteriorated over the years. Thankfully however, the audio is a pretty decent recording. Bowie’s vocal is rough it has to be said, but the band sound absolutely superb. For me, it’s a joy to hear a live Young Americans track, so beautifully arranged and faultlessly played by this incredible collection of musicians. I particularly love the extra minute at the end the where band keeps the wonderful groove going, and Bowie has fun with Dennis Davis, asking him to “Take it two-and-a-half-times!” Hope you dig it! More videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe Facebook.com/TheNachoVideos RUvideos.com/nachomarcho Vimeo.com/NachosProductions #DiamondDogs #YoungAmericans
David Bowie • Jean Genie • Live at The Tower Theatre • July 1974
David Bowie • Jean Genie • Live at The Tower Theatre • July 1974
9 months ago
David Bowie • Jean Genie • Live at The Tower Theater • July 1974 Audio & Video: David Bowie Jean Genie, recorded live at The Tower Theater, Upper Darby, PA. Between the 8th and 13th of July, 1974. Musicians: • David Bowie - vocals • Michael Kamen - electric piano, Moog synthesizer, oboe, music director • Earl Slick - guitar • Mike Garson - piano, mellotron • David Sanborn - alto saxophone, flute • Richard Grando - baritone saxophone, flute • Herbie Flowers - bass • Tony Newman - drums • Pablo Rosario - percussion • Gui Andrisano - backing vocals • Warren Peace - backing vocals The David Bowie Is App does not easily to give up it’s video treasures. Eventually satisfactory ways were found to extract and enhance the material. And so, nabbed from an obscure corner of the App, here we have this awesome and complete Jean Genie performance, from the Diamond Dogs tour. The quality is not that great, but due to the utter scarcity ’74 live footage, any semi-decent scrap must be utilized. I was hoping that the official David Live album version of Jean Genie, recorded at the Tower Theater, would be a good match for the footage. But Bowie’s adlibbing is very different in the two versions, so a convincing synch was not possible. Still, it’s great to finally see this complete version of Bowie and backing vocalists, Gui Andrisano and Warren Peace put on a fun and quite brilliant bit of theatre to the backing of the wonderfully reworked ‘74 version of Jean Genie. Hope you dig it! More videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe Facebook.com/TheNachoVideos RUvideos.com/nachomarcho Vimeo.com/NachosProductions #DiamondDogs #AladdinSane
Mike Garson • David Bowie Medley • Live at the Hammersmith Odeon • July 3, 1973
Mike Garson • David Bowie Medley • Live at the Hammersmith Odeon • July 3, 1973
Year ago
Mike Garson • David Bowie Medley • Live at the Hammersmith Odeon • July 3, 1973 Audio: Mike Garson • David Bowie Medley, featuring: • Space Oddity • Ziggy Stardust • John, I’m Only Dancing • Life on Mars From The Fall of Ziggy Stardust and the Spiders From Mars • Hammersmith Odeon, July 3, 1973 Video: Shot at the Hammersmith Odeon • July 3, 1973 • From Ziggy Stardust and the Spiders From Mars. Directed by D. A. Pennebaker • BBC Nationwide “Bowie Quits” report, broadcast July 4, 1973. This video is dedicated to Mike Garson. Mike was Bowie's piano player during several important periods, including the Ziggy and the Spiders phase. Personally, I’ll always be grateful to Mike for championing my videos in the early days. Soon after uploading my "Right" video to my RUvideos channel ruvideos.org/Gqtp1tvpkBk-video.html I was astonished at the following comment: “Nacho, I'm Mike Garson's manager and we love what you've done here. Trying to find a way to contact you privately. Could you please email me at…. “ Mike’s manager and I corresponded a fair bit, and Mike featured the "Right" video on his website, and several other videos I was to go on to make. Last week we learned the terrible news that Mike had lost his home and studio to the Southern California fires. I immediately recalled the recent video, of Mike in his home studio. And I thought what a tragedy it was to have lost that beautiful looking music room, with all the photos and mementos of his long and illustrious musical career: facebook.com/mikegarson/videos/249424405773680/ On November 11th, Mike posted: “The fire situation here in the Los Angeles area is terrible. My family and I are safe. Unfortunately, my home and studio have burned to the ground and we are devastated. I’ve been hearing from friends, family and fans and appreciate all of the love pouring in from all corners of the globe. I know what matters more than a house or material goods is our safety, our family, love and music. I’m so grateful to have all of this. The outpouring of love I’ve received in light of this loss is overwhelming and my family and I are deeply touched. Many of you have asked what you can do to help. Here’s my one request: Transmit the outpouring of love you’ve given us and don’t wait for moments like this to show others how much you love and care. Your support will remain with me forever and my music, as always, will continue.” Since then, a Go Fund Me page has been started for Mike: www.gofundme.com/mike-garson-fund Because of the great sympathy I feel for Mike, I've created this video. A basic version of it has been on the back-burner for a couple of years now, as part of a large work-in-progress project to create a complete concert film of the last Ziggy show at Hammersmith ’73. The film would use all available sources, both official and unofficial. Actually, that project is such a vast amount of work, I really don’t know if it will ever be finished. But at least now I’ve created a stand-alone video for Mike’s medley that I hope works well. Mike’s David Bowie Medley from the Hammersmith show, is omitted from the official Ziggy Stardust movie, and the accompanying soundtrack album. However, thankfully in recent years, Bowie’s soundman from the Ziggy years, Robin Mayhew, released an audio of the complete show, that he taped himself on the night, direct from the mixing desk. Robin has been kind enough to allow the use of his recording on this video, and on past and planned videos from the show. Anyone interested in contacting Robin about this and other recordings, including Robin's own albums, can visit his site: www.robinmayhew.co.uk. There’s no footage in circulation of Mike playing the medley at Hammersmith, and indeed we rarely see him at all throughout the concert footage. So my idea was to adorn his gorgeous medley with alternating scenes of Bowie backstage getting ready for the show, and scenes of the audience, outside the Odeon also readying themselves for the show. And finally... as Mike’s medley draws to a conclusion, Bowie leaves the dressing room in all of his finery, imminently to take a concert stage as Ziggy for the final time… Hope you dig it! More videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe Facebook.com/TheNachoVideos RUvideos.com/nachomarcho Vimeo.com/NachosProductions #ZiggyStardust #AladdinSane #SpaceOddity #JohnImOnlyDancing #LifeOnMars
Talking Heads • Life During Wartime • Live at the Mudd Club • August 13, 1979
Talking Heads • Life During Wartime • Live at the Mudd Club • August 13, 1979
Year ago
Talking Heads • Life During Wartime • Live at the Mudd Club • August 13, 1979 Audio: Talking Heads • Life During Wartime • Recorded live at the Mudd Club, New York City • August 13, 1979 Musicians: David Byrne - Vocals, guitar Chris Frantz - Drums Tina Weymouth - Bass Jerry Harrison - Guitar, vocals From an audience recording by Hans Devente (Madtaper) Video: The Mudd Club, New York City • August 13th 1979 • From The South Bank Show, Season 3, Episode 4 - a documentary on Talking Heads - originally broadcast on December 23, 1979 “This ain't no Mudd Club…” Lyrically, Fear Of Music was David Byrne’s vision of an American Dystopia. Songs seem to describe a society at imminent collapse, perhaps even post-apocalyptic, and Life During Wartime exemplified this. “I wanted to write a song about Urban Guerillas, from the point of view of their daily lives, instead of their politics”, Byrne says of it, in the 1979 South Bank Show. This daily life is the litany of woe of an outcast who posits the futility of education, and who eschews the triviality of nightclubs because struggling to survive is all they have time for. After the two and a half month live hiatus, whilst the band had rehearsed and recorded Fear Of Music, they commenced touring in early June, and included many of the new songs in the shows. However, the show at the Mudd Club seems to have been the live debut of Life During Wartime. It’s not clear why the song wasn’t played live prior to that. Was it being deliberately saved for the Mudd Club show? The Mudd Club was a nightclub in New York City, which operated from 1978 to 1983 as a venue for underground music and counterculture events. It was located at 77 White Street, in downtown Manhattan, and was opened by Steve Mass, art curator Diego Cortez and downtown punk scene figure Anya Phillips. Mass claimed to have started the nightclub on a budget of only $15,000. Another important figure on the Mudd Club scene was the doorman, Richard Boch. He has recently written a book about those times, called The Mudd Club, published by Feral House 2017. Richard was on the door that night in ’79, and has kindly contributed his recollections to the notes for this video: "Summer 1979, August 13. I was working the Mudd Club door, the evening was starting early at 9:00pm. Daylight had already taken a last fade and the street was empty. But David Byrne, Chris Frantz, Tina Weymouth and Jerry Harrison were already inside. The Talking Heads were getting ready to film a segment for the London Weekend Television South Bank Show and the television lights inside turned the dark great walls of Mudd a bright light white. The crowd inside was there by word of mouth and invite only. Onstage, the band were ready. The Talking Heads opened the set with “Big Country” from their 1978 release More Songs About Buildings and Food. Several soings later they launched into “Life During Wartime” from the just-released Fear of Music. Barreling along on a rhythm track laid down by Chris and Tina, the lyrics of David Byrne teetered between realities of a band on the run versus the days of CBGB and Mudd Club with the infamous line, ”I ain’t got time for that now.” Peanut butter also gets a mention. The band, the song and that classic line still resonate nearly four decades past and “Life During wartime” still pounds the beat and rattles the brain." ____ Watching the excellent 1979 Talking Heads South Bank Show documentary, I was immediately struck by just how great the performances and the live footage was. However, like most music documentaries, we don’t get complete songs, and much of the audio of the performances is obscured by interviews with band members. So I felt compelled to see if more could be made of the material. I figured it out where the footage was shot, and looked for an audio of the show. My search was fruitful, and I was delighted to find an audience recording that could hardly be bettered - crystal clear sound, and only negligible tape hiss. So let’s be very thankful to Mr. Hans Devente (Madtaper) who recorded the show. He was apparently a big fan of the band, taping many Talking Heads shows. I added some EQ to the audio, and as per my usual self-imposed remit, it was a job of syncing the two sources accurately. The footage of the song was incomplete. One of the ways around that issue was to reuse the crowd footage I utilized in the previous video. So now we have what hopefully appears to be anyway, a complete version of this fine and historic performance. Hope you dig it! More videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe Facebook.com/TheNachoVideos RUvideos.com/nachomarcho Vimeo.com/NachosProductions #DavidByrne #JerryHarrison #TinaWeymouth #ChrisFrantz #FearOfMusic #MuddClub #BrianEno #TalkingHeads
Echo & the Bunnymen • The Puppet • Live at The Lyceum • September 7th 1980
Echo & the Bunnymen • The Puppet • Live at The Lyceum • September 7th 1980
Year ago
Echo & the Bunnymen • The Puppet • Live at The Lyceum • September 7th 1980 Audio: Echo & the Bunnymen • The Puppet recorded live at The Lyceum, September 7th 1980 Musicians Ian McCulloch • vocals, rhythm guitar Will Sergeant • lead guitar Les Pattinson • bass guitar Pete de Freitas • drums Produced, Engineered, Mixed • Echo And The Bunnymen, Tim Summerhayes Video: Shot live at The Lyceum, September 7th 1980. From the 1981 film “Urgh! A Music War”, directed by Derek Burbidge. ____ The Bunnymen’s show at the Lyceum on September the 7th, 1980 was the first time the band had played since the debut album Crocodiles had hit the number 17 spot in the UK charts in July. This was the set list that night: Going Up Do It Clean Read It in Books Rescue Over the Wall Pride Pictures On My Wall The Puppet Monkeys Villiers Terrace All That Jazz Happy Death Men Crocodiles The Puppet was not a track from the Crocodiles album. It was released later as a single, a week after the Lyceum show. The Puppet was recorded at Rockfield Studios in Wales, and produced by Bill Drummond and David Balfe, as Crocodiles had been. But it’s not clear to me if the song/the recording hails from the Crocodiles sessions at Rockfield. I suspect not, because it seems that The Puppet was debuted at the September 7th Lyceum show, and after the song finishes, McCulloch says, “That was a new one”. The Bunnymen then seemed to have played the song on most of the remaining shows in 1980, and then only a handful of times in 1981. Presumably the sheer volume of excellent new material that would make up 81’s Heaven Up Here album started to take precedent. I know they didn’t play it at the December 9th 1981 show at the Hammersmith Palais, because I was there. Hanging around after the show I hassled David Balfe, who was playing keyboards with the band, and who had added the excellent descending synth line to the ecstatic latter part of The Puppet. I asked him why the band hadn’t played the song, and if memory serves he simply answered, “I don’t know, maybe next time.” The Bunnymen only performed The Puppet only about a dozen times, and for the last time at a show at the 688 Club in Atlanta, Georgia on October 10th, 1981. Almost 30 years later, a Guardian review of a Bunnymen show in Manchester starts with: “Midway through the Bunnymen's first British gig in ages, Ian McCulloch finally loses patience with a heckler. "We're not playing The Puppet!" he snaps. "We played it once and it was crap!" …Their third single, from 1980, remains the only misfire in a glorious heyday…”. Personally, I love The Puppet, but I would certainly agree about the glorious heyday sentiment. In 1980/81 The Bunnymen were my favorite band, and Heaven Up Here in particular remains one of my most cherished albums. Having scoured the net for several years, I found that there’s not much decent footage out there of the Bunnymen during their 80/81 heyday. So the footage of them at the Lyceum performing The Puppet from the Urgh! A Music War film is very valuable. However, the clip has always frustrated me. Firstly, the sound is weedy and compressed. And secondly, the excellent live footage is spoiled by being intercut here and there, with a secondary narrative of scenes, presumably shot outside the Lyceum that night, of punks and other young scruff bags waiting around on what looks like a typically grim and wet London evening. So this video is an attempt to rectify the situation. Using the US DVD, I’ve reordered the footage in order to omit the extra scenes from within the performance. And I’ve synced the finished edit to the audio from the CD, which I’ve beefed up to give it a more dynamic feel. ___ I’m looking to restore and upload some of the other early Bunnymen video material, including Shine So Hard. It seems criminal to me that the John Smith-directed Shine So Hard film hasn’t resurfaced in good quality yet. Shot at a show in January ’81, Shine So Hard is a brilliant 30 mins of the Bunnymen storming through some of their best material, and enigmatically lurking about in the full Apocalypse Now! combat gear. Please Share, Like, Comment, Subscribe RUvideos.com/nachomarcho Facebook.com/TheNachoVideos Vimeo.com/NachosProductions nachomarcho@gmail.com
Happy Mondays • Moving In With • 1988
Happy Mondays • Moving In With • 1988
Year ago
Happy Mondays • Moving In With • 1988 Audio: Happy Mondays • Moving In With • From the album Bummed, released November 1988 Musicians Shaun Ryder • vocals Paul Ryder • bass Mark Day • guitar Paul Davis • keyboards Gary Whelan • drums Mark "Bez" Berry • Bez Produced by Martin Hannett Video: “Bummed” recording sessions • The Slaughterhouse, Yorkshire and/or Strawberry Studios, Manchester • August / September 1988. From a Granada TV “Information Technology” music industry educational show • 1988 ___ Bummed, to quote the BBC’s Daryl Easlea, “represented something of a great leap forward for the Happy Mondays. The shambolic monotony of their John Cale-produced debut (album)… was replaced by well, a Martin Hannett-produced shambolic monotony.” Happy Mondays were a band formed in Manchester in 1980. During their early years, despite being on Factory Records, and apparently part of the alternative music scene, the band were perhaps misunderstood by many fans of the genre. The loose funk grooves of early records, like Freaky Dancin’, and it’s hooligan poetry, “You don’t like that face ‘cos the bones stick out, you don’t like that mouth ‘cos it’s much too loud”, and the Manchester Football Casuals image of the group, were unusual and unpalatable to some. However, by the time of 1988’s Bummed, Happy Mondays had lucked onto the second summer of love moment. Despite the album being somewhat guitar-based Indie, the Can/Funkadelic/Northern Soul-esque grooves, the attitude, the clothes and the pills meant they were the right band in the right place, at the right time, bridging the gap between alternative rock and the emerging Rave scene. In the late 70’s / early 80’s, Martin Hannett had been a director and partner in Factory Records. He was in-house producer of many of the early records on the label, and made a huge contribution to the sound of some great music, including Joy Division, New Order and Magazine. His production techniques were groundbreaking, utilizing synthesizers and looping, echo and delay technology that could elevate fairly conventional sounding artists, into much more sophisticated and distinctive sound universes. However by 1982, due to a falling out over money, Hannett sued Factory and went his own way. It seems that bringing Hannett in to produce Bummed was the idea of Happy Mondays manager Nathan McGough. By ‘88 Hannett was not in good shape; he was overweight and drinking heavily. However, Hannett’s indulgences, were equaled by the bands own. Nathan McGough; “There was a lot of ecstasy taken on a daily basis during the making of Bummed, we took two hundred E with us but they ran out after ten days so I had to go back to Manchester and collect another hundred.” During the recording of Bummed, the Mondays were in a honeymoon period with ecstasy, and the drug was having an enormous influence on their music. Alex Petridid, of The Guardian: ”What (Bummed) captures, however, is not the hug-a-stranger euphoria of the perfect E experience, but the queasy, disorientating claustrophobia of overindulgence.’ Shaun Ryder’s lyrics are obscure tales of hedonism, sex and villainy. On Moving In With, Ryder warns: We're moving in, with you You're moving in, on me and Henny Penny Cocky Locky Goosey Loosey Turkey Lurky Ducky Lucky Chicky Licky It may not be clear precisely what is meant, but I think it’s safe to say; there goes the neighborhood. Bummed is shot through with the influence of Nic Roeg and Donald Cammell’s movie Performance. The album contains samples, quotes, and even one song named after it. Shaun Ryder: “Performance had a big effect on me. I watched that film fucking eight hours a day. At the time we were taking a lot of acid as well as E and that film would be on a constant loop from morning to night. I robbed a lot of stuff out of that.” To see what a difference a year, and a bunch of pills had made, check out this rehearsal of Moving In With, from August ’87: ruvideos.org/fjvYzXv5Sfw-video.html And to get an idea what Hannett was bringing to the party, here’s a live in the studio Performance from the era. Sure, it’s fantastic to see them play it, but Hannett’s reverb soup is very notable for it’s absence: ruvideos.org/gJecpjVs3Lc-video.html _____ Chancing on the Granada TV "Information Technology" video, featuring the Mondays, was a eureka moment for me. I’ve loved Bummed since it came out, and it was astonishing to see clips of Hannett, Ryder and co in the studio, actually recording the album in ’88. So I knew immediately I had to use the material to make a video for Moving In With. Some of the information here came from an excellent The Quietus article. Worth a read, if you are fan: thequietus.com/articles/19636-happy-mondays-bummed More videos to follow, so please keep your electric eye on me babe! Please Share, Like, Comment, Subscribe RUvideos.com/nachomarcho Facebook.com/TheNachoVideos Vimeo.com/NachosProductions nachomarcho@gmail.com
David Bowie • "Heroes" • TopPop • October 13th 1977
David Bowie • "Heroes" • TopPop • October 13th 1977
Year ago
David Bowie • "Heroes" • TopPop • October 13th 1977 Audio: David Bowie • “Heroes” recorded live on TopPop, October 13th 1977 David Bowie • V-2 Schneider from the album “Heroes”, recorded in August, 1977 Musicians David Bowie - vocals, keyboards, guitars, saxophone, tambourine Brian Eno - synthesizers, keyboards, guitar treatments Robert Fripp - lead guitar Carlos Alomar - rhythm guitar George Murray - bass guitar Dennis Davis - drums, percussion Tony Visconti - percussion, backing vocals Original track produced by David Bowie and Tony Visconti Video: AVRO TopPop outtakes • October 13th 1977 AVRO TopPop broadcast • October 15th 1977 The material for Bowie’s album “Heroes” was recorded and mixed quickly in August ’77. In early September, just prior to the release of the “Heroes” single, Bowie commenced a short promotional tour, recording TV shows and the “Heroes” video. The recording dates of the tour were: September 7th • UK • The Marc Show September 11th • UK • Bing Crosby's Merrie Olde Christmas TV Special September 27th • UK • “Heroes” video shoot October 1st • Italy • Odeon October 13th • Holland • TopPop October 16th • France • Le Rendez-Vous Du Dimanche October 19th • UK • Top of the Pops This video is an upgrade on the existing versions on RUvideos. The quality is the best that I am aware of, and unlike the official upload on the TopPop channel, this contains the original live audio. On the official TopPop upload, the audio has been replaced with the standard studio 7" version of “Heroes”. In order to make the two sources sync, TopPop re-cut and superimposed parts of their video. This version is the uncut original. About 5 different versions of the clip were utilized, including one with a longer outro than was originally broadcast, where Bowie continues to sing acapella after the backing track fades out. This video is also a shameless plug for a ten-minute film I've put up on my Nachos Productions Vimeo account: David Bowie • AVRO TopPop • October 14th 1977 vimeo.com/291475113 More videos to follow, so please keep your electric eye on me babe! Please Share, Like, Comment, Subscribe RUvideos.com/nachomarcho Facebook.com/TheNachoVideos Vimeo.com/NachosProductions
Talking Heads • Psycho Killer • Live at the Mudd Club • August 13, 1979
Talking Heads • Psycho Killer • Live at the Mudd Club • August 13, 1979
Year ago
Talking Heads • Psycho Killer • Live at the Mudd Club • August 13, 1979 Musicians: David Byrne - Vocals, guitar Chris Frantz - Drums Tina Weymouth - Bass Jerry Harrison - Guitar, vocals Audio: Talking Heads • Psycho Killer • Recorded live at the Mudd Club, New York • August 13, 1979 • From an audience recording by Hans Devente (Madtaper) Video: The Mudd Club, New York • August 13th 1979 • From The South Bank Show, Season 3, Episode 4 - a documentary on Talking Heads • Originally broadcast on December 23, 1979 Talking Heads was an American band started in 1975 in New York City, by former art students. Their first four albums Talking Heads: 1977 More Songs About Buildings and Food Fear of Music Remain in Light are universally acclaimed, highly influential classics. As Wikipedia neatly puts it, “the group helped to pioneer new wave music by integrating elements of punk, art rock, funk, and world music with avant-garde sensibilities and an anxious, clean-cut image.” Prototype versions of Psycho Killer had been performed on stage by a prototype version of Talking Heads as early as 1974. The finished song was included on the bands debut album Talking Heads: 1977. According to setlist.fm, Psycho Killer was the most frequently played song throughout the bands career. And by the time of the Mudd Club show in August ‘79, they had already performed it well over 100 times. Talking Heads Fear of Music tour commenced in New Zealand and Australia, in June 1979. Prior to the tour, the band hadn’t played a show since December 1978. The tour continued on through Europe and Japan. The band then returned to the States, and the Mudd Club, on August 13, 1979 was the second show of the US tour. At the time of that show, the Fear of Music album had been out for about a week, having been released on August 3. Then followed quite a lengthy US and Canadian tour, and a return to the UK for more shows. The final show of the Fear of Music tour was in Paris, on December 11, after which the band wouldn’t play another concert until later in 1980, by which time Remain in Light had been released and the band, the sound and the audience was very much expanded. The Mudd Club was a nightclub in the TriBeCa area of New York City, USA, that operated from 1978 to 1983 as a venue for underground music and counterculture events. It was located at 77 White Street, in downtown Manhattan and was opened by Steve Mass, art curator Diego Cortez and downtown punk scene figure Anya Phillips. Mass claimed to have started the nightclub on a budget of only $15,000. Watching the excellent 1979 Talking Heads South Bank Show documentary, I was immediately struck by just how great the performances and the live footage was. The band are seen totally overexposed playing against a brightly lit white background. As the cameras follow the band’s performance, we glimpse the small venue’s interior. Finally towards the end of Psycho Killer, during the peak of the song, there are many enjoyable shots of the super cool NYC audience. Like most music documentaries, we don’t get the complete songs, and much of the audio of the performances is obscured by interviews with the band. So I felt compelled to see if more could be made of the excellent material. I figured out at which show the live footage was shot, and I went searching, hoping to find an audio of the show. My search was fruitful, and I was delighted to find an audience recording that could hardly be bettered - crystal clear sound, and only negligible tape hiss. So let’s be very thankful to Mr. Hans Devente (Madtaper) who recorded the show. Mr Devente was apparently a big fan of the band, and back in the day taped many Talking Heads shows. I added a little EQ to the audio, mostly to increase the bass. And then, as per my usual self-imposed remit, it was a job of syncing the two sources accurately, and somehow making up for the missing bits of footage, so that we have, what hopefully appears to be anyway, the complete six and half minutes of this wonderful performance. Hope you dig it! More videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe Facebook.com/TheNachoVideos RUvideos.com/nachomarcho Vimeo.com/NachosProductions #DavidByrne #JerryHarrison #TinaWeymouth #ChrisFrantz #MoreSongsAboutBuildingsAndFood #FearOfMusic #MuddClub #BrianEno #TalkingHeads:1977 #PsychoKIller
Can • Dizzy Dizzy • 1974
Can • Dizzy Dizzy • 1974
Year ago
Can • Dizzy Dizzy • 1974 Audio: Can • Dizzy Dizzy • from the album “Soon Over Babaluma” • Recorded August 1974 • Released November 1974 • Produced by Can • Engineered and edited by Holger Czukay Video: Dizzy Dizzy promo video • 1974 • Directed by P. Przygodda / R. Müller • from Can Documentray • 1999 Musicians: Michael Karoli - vocals, violin, guitar Irmin Schmidt - organ, electric piano, alpha 77 Jaki Liebezeit - drums, percussion Holger Czukay - bass Dizzy Dizzy is the opening track from Soon Over Babaluma, the sixth album by German band Can. Soon Over Babaluma continued the ambient yet rhythmic style of it’s predecessor, Future Days. Lead Vocalist, Damo Suzuki, had departed in ’73, so now vocal duties were shared between by guitarist Michael Karoli and keyboardist Irmin Schmidt. On Dizzy Dizzy it’s Karoli on vocals. As Dominique Leone nicely puts it, in his 2005 review of the remastered edition of Soon Over Babaluma, “His (Karoli’s) refrain of "got to get it up, got to get it over" serves the insistent, space-bounce of the track”. Can was a German experimental rock band formed in Cologne, Germany, in 1968 by Holger Czukay (bass), Irmin Schmidt (keyboards), Michael Karoli (guitar), and Jaki Liebezeit (drums). The group had several vocalists, notably Malcolm Mooney (1968-70) and Damo Suzuki (1970-73). The band drew from backgrounds in avant-garde and jazz. Can incorporated minimalist, electronic, and world music elements into their often psychedelic and funk-inflected music. They have been widely hailed as pioneers of the German krautrock scene. Much of Can’s early music came from free improvisations recorded direct to 2-track, during long jam sessions at the bands Inner Space studio in Cologne. The recordings were later edited down and constructed into tracks for the studio albums. Can exerted a considerable influence on avant-garde, experimental, post-punk, ambient, new wave and electronic music. They were an influence on artists such as David Bowie, Talking Heads, The Fall, Public Image Ltd, Siouxsie and the Banshees, Joy Division, Suicide, Pavement, The Stone Roses, Sonic Youth, Happy Mondays, Talk Talk, The Jesus and Marychain and Primal Scream. Critic Simon Reynolds wrote that "Can's pan-global avant-funk anticipated many of the moves made by sampladelic dance genres like trip hop, ethnotechno and ambient jungle." Can came to me in the mid-80’s. My colleague at Virgin Records High Street Croydon, Richard Bentley, from the band Circus Circus Circus, had made me a compilation tape, and featured on it was the track, “Moonshake” by Can, from their 1973 Future Days album. I was blown away by Future Days. The Side One’s of Future Days and Soon Over Babaluma soon became a mainstay of many smashed out of my brain post-rave all-nighters, throughout the 80’s and 90’s. Their extraordinary music is so profundly etched into my subconscious from those deep, deep listening sessions. Some of the very early work, and the latter Can albums, and some of their more far-out tracks don’t work for me. But the incredible trio of albums, Tago Mago (’71), Ege Bamyasi (’72) and the aforementioned Future Days (’73) contain some of the greatest music I have ever heard. I met Can keyboardist, Irmin Schmidt once. It was in the early 90's at Midem, the annual music industry convention is Cannes. The music distributor I worked for was buying vinyl from Can's label, Spoon Records, and my boss knew I was a huge Can fan. He sprung a surprise on me... and suddenly I'm shaking the hand of the guy who had contributed such an important part of the soundtrack of my life with his euphoric music. I did what I always do when I meet a personal hero: I was dumbstruck, and mumbled something to Mr. Schmidt that was I guess pretty incoherent. I was lucky enough to see one of the Can-Solo-Projects shows, in '99. Michael Karoli, Irmin Schmidt, and Jaki Liebezeit played separate sets. Two years after that show, Michael Karoli passed away, and this year we lost both Jaki Liebezeit, and Holger Czukay, leaving Irmin Schmidt as the only surviving long-term member of Can. This edit is made from the partial video of Dizzy Dizzy, featured on the 1999 Can Documentary. Most of the music clips from the documentary are already online, but not Dizzy Dizzy. To me, the footage is a fascinating glimpse of the band in their Inner Space studio, where they jammed and experimented to produce the music for their early, important albums. More videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe
David Bowie • “Heroes” • Live at Earls Court • June 30th 1978
David Bowie • “Heroes” • Live at Earls Court • June 30th 1978
Year ago
David Bowie • “Heroes” • Live at Earls Court • June 30th 1978 Audio: David Bowie • “Heroes” & What in the World, from “Welcome to the Blackout” • Recorded June 30th 1978 • Produced by David Bowie and mixed by David Bowie and David Richards, January 17th - 22nd 1979 Musicians: David Bowie - vocals, keyboards Carlos Alomar - rhythm guitar, backing vocals George Murray - bass, backing vocals Dennis Davis - drums, percussion Adrian Belew - lead guitar, backing vocals Simon House - violin Sean Mayes - piano, string ensemble, backing vocals Roger Powell - synthesizer, keyboards, backing vocals Video: Earls Court, London • July 30th 1978 • From the LWT David Bowie Special 1978 & South of Watford David Bowie Special 1983. Dallas Convention Centre, Texas • April 10th 1978 • From David Bowie Live on Stage RCA promo video The David Bowie Isolar II 1978 World Tour, also known as The Low / Heroes World Tour or The Stage Tour, hit London forty years ago. Three nights were played at the Earls Court Arena, 29th & 30th of June & the 1st of July. The Earls Court shows were hailed as a triumph. In July ’78, the NME published Nick Kent’s review of one of the shows, which ended with, “That shimmering sizzle, that fizzy brilliance that is undeniably attuned to Bowie's work, was all there on Thursday. It impressed me, it entertained me and very occasionally had me almost spell-bound. It was a total success.” The never-completed and never-shown David Hemmings-directed STAGE movie, was shot at the last two Earls Court shows. The fourty year old undigitised reels for which are to this day gathering dust at the Bowie archive. The STAGE movie is perhaps the ultimate lost treasure of the Bowie cannon. For decades it’s been the subject of much speculation among fans, who are desperate to see it. So with my video - basically a superior remake of one I made two years ago ruvideos.org/1Sq6_NVrKes-video.html - we have at least a small taste of how the film might be. The combination of the magnificent version of “Heroes” from Welcome to the Blackout, and the excellent footage from the same show, shot by the LWT crew, is I think one of the best documents we have from the ‘78 tour. This video serves as a very personal memento for me, of the concert that I most wish I had been able to attend. In the summer of 1978, I was already a Bowie fan. However, I was only 11 years old. I don’t remember if I was aware of the tour at the time, but regardless there would have been no way my parents would have allowed me to go. I do remember that I saw at some point, at least part of the LWT Bowie Special TV program, that was shot at the Earls Court shows. I don’t know how I could have seen the show when it was first broadcast because my parents were not high-brow types; they would not have been interested in watching an alternative arts show. And moreover I have a vague recall that my Dad was irritated by the presenter of the show, Janet Street-Porter. There was a part of the interview Bowie gave on the show, where he mentioned that he would be touring again in one or two years, and I knew that I wanted to be at those shows. Sadly, that tour never materialized, and it would be 5 years until he came back to play live, doing the Serious Moonlight thing. But by then, I was no longer a child, times had changed, and Bowie’s current Let’s Dance pop music and style did not appeal to me. As I have said many times, the show that I caught at London’s Wembley Arena, in 1983, was the big musical disappointment of my life. There is in existence, a perfect HD digital transfer of the LWT material. Unfortunately I don’t have it. And so instead what we have here is a matrix I’ve cobbled together of 7 different versions of the footage, that I’ve collected over the years. All versions are incomplete, and contain considerable glitches. Combining all these versions, get’s around most of the issues, but causes some variance in quality, and moreover still leaves us with about 30 seconds missing from the performance. You may decide for yourself, if that that issue has been convincingly masked here. More videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc.Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe
Roxy Music • Both Ends Burning • Live at Wembley 1975
Roxy Music • Both Ends Burning • Live at Wembley 1975
Year ago
Roxy Music • Both Ends Burning • Live at Wembley 1975 Audio: Roxy Music • Both Ends Burning live at Wembley Empire Pool • London, UK • October 18th 1975. From the 1976 album Viva! Roxy Music, and live at Wembley soundboard. Musicians: Bryan Ferry - Vocals Paul Thompson - Drums Phil Manzanera - Guitars Andy Mackay - Saxophone Edie Jobson - Keyboards John Gustafson - Bass Jacquie Sullivan - Vocals Doreen Chanter - Vocals Video: October 17th, 18th 1975 • Wembley Empire Pool • London, UK. From the official Both Ends Burning video. Unconfirmed 1975 show, from All You Need is Love episode 15, US TV 1977. January 27th 1976 • Konserthuset • Stockholm, Sweden Roxy’s Siren album was released on October 31st, 1975. The Siren tour commenced on October 2nd 1975 and ran through Europe, the US until late March 1976. Andy MacKay: “(In the States) we played mainly theatres which suited us. In the U.K. we were playing arenas, but the audience were great in both”. On many of the early dates of the tour, including all the UK dates, the audience had not heard the new material. Despite that, Roxy played most of the tracks from the new album, even starting the set with Sentimental Fool, from Siren. In a review in the Melody Maker of the Liverpool show, 3rd October, Barbara Drillsma described new song, Both Ends Burning as ”a real classic rocker”. The version of Both Ends Burning from Viva! certainly lives up to that epithet. Andy MacKay: Toward the end of recording (of Siren) we were compromised as we had been on Stranded and other albums by Bryan not having finished lyrics so that tracks got overworked as instrumentals while we were working as it were in the dark. ‘Both Ends Burning’ is a case in point. It has always been better live...” There’s been some doubt which show the Viva! recording is from. But comparing the soundboard from the second night at Wembley, October 18th, to the version on Viva!, it’s obviously the same recording. Some alterations have been made to the Viva! version - it’s about 30 seconds shorter, having had some of the “Keep on Burning ‘till the end” lines omitted. And there’s been considerable overdubbing of Andy MacKay’s saxophone, which although it is almost inaudible on the soundboard, is clearly different playing. Richard Adams writes about Viva! and the Wembley show on his blog: “Phil Manzanera… assembled the songs and added some judicious instrumental overdubs - bits of Andy's sax playing here and there when mics hadn't picked everything up, some of his own guitar playing, tidying up wayward notes. Not much was needed as Roxy live was a well honed machine”. In the Sounds review of the Glasgow show, 18th October, John Inghan wrote: “Ferry looking like an AWOL GI”. On the Siren tour Ferry had introduced a new aesthetic. He wore a khaki military style uniform throughout, apparently inspired by Elvis Presley’s uniform in the movie, “GI Blues”. Looking at shots of Presley in the movie, it seems almost certain that is so. Even down to the detail of the military emblem on the left shoulder of Presley’s uniform - in the same place on Ferry’s uniform, there’s an emblem, ‘tho of course it says, “Roxy Music”. Also new on the Siren tour was the addition of uniformed backing singers - the John Ingham review again: “…singers Doreen Chanter and Maggie Sullivan showed real class with powder blue WRAF uniforms”. In Barbara Drillsma’s Melody Maker review of the Liverpool show, she also mentioned “The Sirens”: “Roxy were helped along by two attractive young ladies Lorraine and Doreen - dressed in tight-fitting airforce outfits”. It’s been a while now, that I’ve been wanting to untypecast myself from the strictly 70’s-Bowie-videos mantle. I’ve loved the first phase of Roxy Music since I was a kid, and of course there is so much common ground between Roxy and Bowie, so it seemed like a good place to start. I’m no expert on Roxy however, so I asked my Bowie / Roxy buddy Carla for some input. Carla had some great suggestions for Roxy videos, and Both Ends Burning was one of them. I checked out the official Both Ends Burning video, and frankly, I thought it was a mess! The official video is of footage from one of the Wembley shows, almost randomly synced to an edit of the studio version. Having a big love for the Viva! album, and a long standing to wish to see videos of those performances, I saw a video crying out to be made! However, the material in the short official video was inadequate for my purposes, so I leaned into a couple of other sources, as stated. As always with these type of projects, there was a lot of difficulties, and I’ve had to accept a lot compromises. Anyway, here’s my first Roxy Music video, hopefully the first of many videos I’ll be uploading by favorite artists from the archives. Hope ya dig it! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe
David Bowie • Fame • Live 1978
David Bowie • Fame • Live 1978
Year ago
David Bowie • Fame • Live 1978 Musicians: • David Bowie - vocals, keyboards • Carlos Alomar - rhythm guitar, backing vocals • George Murray - bass, backing vocals • Dennis Davis - drums, percussion • Adrian Belew - lead guitar, backing vocals • Simon House - violin • Sean Mayes - piano, string ensemble, backing vocals • Roger Powell - synthesizer, keyboards, backing vocals Audio: • David Bowie • Fame from “Stage” • Recorded Spring 1978 • The 2005 Tony Visconti Remaster Video: • December 12th 1978 • NHK Hall, Tokyo • Final night of the Isolar II 1978 tour • November 8th 1978 • Interview for Countdown • ABC TV • Australia David Bowie’s Isolar II 1978 World Tour, also known as The Low / Heroes World Tour or The Stage Tour, opened forty years ago today, on the 29th of March 1978 at the San Diego Sports Arena. The tour continued through North America, Europe and Australia before reaching a conclusion at the NHK Hall in Tokyo, on the 12th of December 1978. Eighty dates were played, with a total attendance of almost 1.2 million people. I want to commemorate the start of the tour, forty years ago today, but no known footage, or even a decent quality audio exists from the first show in San Diego. Therefore, I’m putting out this new sync instead. I’m working on putting out more live ‘78 material this year, and hopefully a long-form video from / about the tour. So please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe
David Bowie • Subterraneans • 1977
David Bowie • Subterraneans • 1977
Year ago
Audio • David Bowie • Subterraneans • Low • 1977 David Bowie: Vocals, Saxophone, Reversed Electric Guitar, Synthesizer, Chamberlin Paul Buckmaster: Synthesizer Peter Robinson: Reversed Electric Piano Carlos Alomar: Reversed Electric Guitar George Murray: Backwards Bass Guitar Brian Eno: Synthesizer, Piano Harry Maslin: Production 1975 Tony Visconti: Production 1976 Video • The Man Who Fell To Earth • 1976 Directed by Nic Roeg Starring David Bowie & Candy Clark Most of the material for Low was recorded in France, in the latter part of 1976. However, Subterraneans hails from an earlier time. In late November 1975 the Station to Station sessions at Cherokee Studios in Los Angeles ended. Bowie continued working at the studio on music intended for the soundtrack to the movie he was starring in: Nic Roeg's esoteric Sci-fi, The Man Who Fell to Earth (TMWFTE). What went on to become Subterraneans was part of that soundtrack. A year later, the track was finished during the Low sessions, with overdubs by Brian Eno. Having heard nothing to the contrary, it is assumed that the vocal is from the '75 sessions. The lyrics “Share bright failing star” certainly suggest the theme of the movie; an alien traveling to earth on a mission to save his dying planet. The producer of Station to Station, Harry Maslin, stayed on to produce the sessions for the soundtrack. Arranger Paul Buckmaster, who had worked with Bowie in 1969 on Space Oddity, was Bowie’s principle musical collaborator. Famously, the soundtrack that they created was never used, and remains almost unheard to this day. There were many signs at the time that it would be used: on his November 4th, 1975 Soul Train appearance, Bowie mentions that he is working on the soundtrack, “…with a friend of mine; Paul Buckmaster”. Also, on the cover of the movie edition of the paperback of TMWFTE, it stated, "Album available on RCA”. And on the November 28th Russell Harty interview, when asked if the movie is finished, Bowie says, “I’ve got to record the sound; we’ve written a lot of it…” It is not known specifically how much of the music from those ‘75 sessions ended up on Low. Nic Roeg says that when Low came out, Bowie sent him a copy with a note that said “This was the music I think I would have done for TMWFTE”. Harry Maslin: "I did record much for the film, some of which was used on Low." Incidentally, despite Bowie’s later claim that some of the unused soundtrack also ended up on Station to Station, Harry Maslin remembers things this way: "Nothing on Station to Station was recorded for TMWFTE... it was all meant for Station to Station". In the famous photographs taken by Brad Elterman of Bowie and Buckmaster, leaving Cherokee Studios in November 1975, Bowie is carrying a stack of tapes. Harry Maslin: "David is indeed carrying video tapes and shooting script of TMWFTE". The suggestion here is that he and Buckmaster had an early rough cut of the film that contained their music. Were those tapes then sent to Nic Roeg for his consideration? Do they still exist; are they in the Bowie archive in New York? Surely this early version of the movie with Bowie’s soundtrack must be considered one of the ultimate Bowie holy grails! Bowie’s Subterraneans, with a video made from TMWFTE just had to exist! Scenes of Bowie, as the visitor Thomas Jerome Newton, and in his alien form, with his alien wife, played by Candy Clark, are the perfect match for the haunting and deeply moving otherworldly track that suggests the despair of separation and loneliness. And so I’ve been working on this video for a year now, on and off. I can date it precisely because Mr. Bob Wilson had sent me a beautiful message on the 17th of January, 2017, suggesting that I make a Subteraneans video with TMWFTE footage. And by some kind of magic Bowie serendipity, just a couple of days prior, I had begun the very thing. Bob told me that in his student film-making days in the early 80's, he had given himself the project: a Subteraneans video, made with TMWFTE footage. Bob used VHS machines, and he told me that he was very satisfied with the finished video. He and I discussed the project to and fro, and I got some good ideas from him, some of which are incorporated in my video. Unfortunately, 30 years later, Bob cannot find the tape of his Subteraneans video, so I feel like I've recreated his lost project. I have also made a full-length film about TMWFTE: “David Bowie is The Man Who Fell To Earth”. It’s an attempt to partly explain the movie, and features scenes recut with Bowie’s music from the era. It's a look at the way the film came together and at Roeg’s working methods, and at the creative process itself. Complete film: vimeo.com/nachosproductions vimeo.com/221740373 Hope you dig it! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe
David Bowie • My Death
David Bowie • My Death
Year ago
Audio • Santa Monica Civic Auditorium on 20/10/1972 Video • London Hammersmith Odeon on 3/7/1973 Fans rave about My Death from the Hammersmith farewell show. But to me the Santa Monica version is superior almost beyond measure. I rate the Santa Monica version of My Death as one of Bowie’s finest vocal performances, perhaps only surpassed by ‘73’s Sweet Thing. I’ve loved the Santa Monica performance ever since hearing it on a bootleg in the eighties. But no video of that show is known to exist. Since I started making these Bowie videos, just after he died, it’s been an ambition to make a video for the Santa Monica My Death. I hoped to find another video source of a performance of My Death, rather than have to use the iconic Farewell footage. However, other than a few blurry seconds of silent Super 8 from a ’72 U.S. show, nothing came my way. A year or so ago, the idea to covert the Hammersmith My Death footage to stark monochrome, partly to suit the dark nature of the song and performance, and also to try to somewhat disguise the footage. Not as an attempt to fool fans into believing this is not the Hammersmith show. Rather it’s to try to simply lessen the familiarity with this footage, that many of us have. So I’ve been trying to get this video finished for over a year. Well, the 10th of January is the obvious day to put it out, I decided earlier this week, so it’s been quite a rush job over the last few days to get it finished on time. It’s far from perfect, but I’m out of time and out of patience. To paraphrase something I read yesterday; when we remember how we felt hearing the news of Bowie's death two years ago, we are not remembering January the 10th, we are remembering this day the 11th; that's when the news was released. Here in Hong Kong it was early lunchtime, I was meeting with a couple of colleagues, and we took a short phone check break. There was a message from my friend Linda; she wrote something like, "OMG I can't believe the news, are you okay?". "What news?", I replied. The only time the news of a death has effected me more significantly, was hearing about my own fathers death, three years prior to that. My Dads death was not unexpected; he'd been very unwell for about a year. In early 2013 I had been urgently called home, from a lengthy trip in Southern India, practicing Ashtanga Yoga with the head honcho, Sharath Jois. Mum had written that Dad was not expected to last out the week, and so if I wanted to see him alive again I had better return home immediately. When I got home, Dad perked up a bit, and lasted a few more months. And so I found myself living at my parents house for 4 months. It was the house I'd grown up in, late 70's, early 80's, listening to David Bowie. Those winter months of 2013 was the UK's coldest winter in 50 years, it was a miserable time. Then in March I was astonished to read in the Guardian a glowing review of the new David Bowie album. I sought out other reviews, and it seemed the praise was pretty ubiquitous. I was playing The Next Day for the first time, in the room that I'd spent my teenage years in, and my Mum popped her head in the door, and asked, "Is that David Bowie?". "Yes Mum, I replied, it's his new album". "Oh, she said, he's sounding really good!" Indeed he was sounding really good, and just as had happened all those years ago, a new David Bowie album was making life bearable again. I'm one of those fans that stopped caring about Bowies art in the 80's, and I'd just never bothered to check out any of his post-Scary work. But after TND, SUE and then Blackstar my love for him was returning. Perhaps he'll tour? I thought. The strength of the effect of Bowies death was shocking to me. I had already arranged for a long yoga holiday in Bali that January, and ended up spending a good deal of that time thinking about my relationship with Bowie and investigating the Bowie albums that I had missed over the years. Tomorrow I'm again off to Bali on a lengthy yoga vacation. I'll be staying in the same odd, circular tower room I stayed in 2016, where I deeply pondered our guy for the duration of the trip. For that trip in 2016, I'd deliberately left my computer at home, desiring a break from my tech and communication obsession. When I got home from that vacation I almost immediately set about making the "Right" video. And now that we have got through Bowie's birthday and deathday and I've squeezed out my first Bowie vid, I feel that 2018 is underway. Plenty more Bowie vids planned this year. So please, keep your electric eye on me babe. Thanks for reading and thanks for watching. Nacho Xx 11th of January, 2018 I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe. Thanks!
Iggy Pop • Lust For Life • Live in Manchester • 25th September 1977
Iggy Pop • Lust For Life • Live in Manchester • 25th September 1977
2 years ago
Lust for Life is a track originally from the Iggy Pop album, Lust for Life released on the 29th of August, 1977. Most of the footage used here was shot about a month later, for So it Goes; a British TV music show. So it Goes was presented by Factory Records founder, Tony Wilson and shown on Granada Television between 1976 and 1977. So it Goes specialised in showcasing the punk rock scene of the day. Manchester was the ninth date of the Lust for Life tour. The tour had started in Iggy's then home city of Berlin on September the 12th and it would finish up two months later on the 18th of November at the Santa Monica Civic Auditorium. The musicians on the Lust for Life album had been The Idiot touring band of: Tony Sales - bass, Hunt Sales - drums, Ricky Gardiner - guitar, David Bowie - keyboard and backing vocals. Plus Carlos Alomar - guitar. However, by the time of the Lust for Life tour, Bowie and Gardner were gone, replaced by Bowie's former lead guitarist from the Station to Station tour, Stacy Heydon, and multi-instrumentalist, Scott Thurston, on guitar, piano, synthesizer, harmonica. Stacy Heydon, on how he came to be chosen for the Lust for Life tour "Iggy accompanied us throughout the Station to Station tour. He and Dave were best mates. I was approached by Jimmy. No doubt Dave gave his blessing". Scott Thurston had already been a member of the 1973 - 74 live incarnation of The Stooges, and he had played on the Kill City material in 1975. Stacy Heydon talking about the tour with Iggy: "The people in Manchester were among the best. Being mostly of English dissent I felt very much at home throughout the country. Jimmy was and is quite the entertainer. On countless occasions he would be sharing his extensive knowledge on things like French impressionists, psychology, various political systems, specific museum pieces and the like. Two steps later as soon as we’d taken the stage all bets were off. Being on tour with Mr Osterburg was not for the faint of heart but it did open my eyes to the immense wit and chameleon like qualities that he could extract from his psyche at will, and was the very fabric of his being. That said, whichever side of the cloth you happened to be with at any given time seemed to be the antithesis of the other. If it’s true that opposites attract, that little fucker must love himself as much as we all do!" The material shot for So it Goes was shown on British TV about a month after the live show on the 30th of October. Part of The Passenger was shown, a short interview with Iggy, and at the end of the show, part of Lust for Life, with credits played before the end of the song. Unfortunately, this broadcast led to the early demise of So it Goes. As John Cooper Clark states on his narration on “Anarchy in Manchester”, “Unfortunately for So it Goes, his (Iggy’s) noble onstage savagery led to the shows cancelation in late ’77. That FY appendage didn’t do it for Granada’s top brass.” And so the planned third series of So it Goes never happened. __________________ This recreation of Lust For Life is from 10+ sources. No footage could be found for the first minute and a half of the track, so I used footage from another European date on the tour (possibly Amsterdam). It’s not a perfect match - Iggy is wearing different clothing and the venue and audience are obviously different, but better that than a blank screen or omitting a large chuck of the track, I think. A sixteen minute version of this video Iggy Pop • Live in Manchester • So it Goes • 25th September 1977 is available on my Vimeo channel: vimeo.com/243329813 In addition to Lust For Life, it contains a complete version of The Passenger and additional interview material with Iggy. Been dabbling with this project for many months. It's still not right, but until it's uploaded, it's a distraction from future projects. Now I can forget it, and move on. Hope you dig it! _______________ I am grateful to Easy Action for providing the audio track and allowing me to use it on this video. The Manchester audio performances of Lust for Life and The Passenger are available to buy from Easy Action, as downloads and a limited edition 10” vinyl has just been released. easyaction.co.uk/index.php?route=product/product&product_id=558&search=iggy+pop itunes.apple.com/gb/album/apollo-single/id1280354092 _______________ I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe. Thanks!
David Bowie is The Man Who Fell To Earth - Epilogue - What Happened to The Visitor? - 2017
David Bowie is The Man Who Fell To Earth – Epilogue - What Happened to The Visitor? – 2017
2 years ago
David Bowie is The Man Who Fell To Earth - Epilogue - What Happened to The Visitor? - 2017 Uploading this video on the occasion of having heard today, that arranger and orchestrator Paul Buckmaster has just passed away. The Rolling Stone obituary published a few hours ago states, "Buckmaster's alternately lush and brooding string arrangements enriched, deepened and darkened pop records for nearly 50 years." Paul Buckmaster has been known in the Bowie universe for two things. Firstly, he arranged the strings for Space Oddity. And secondly, he and Bowie worked together in 1975 on the intended soundtrack for the movie Bowie was starring in, Nic Roeg's The Man Who Fell to Earth. The music they created together was recorded in December 1975, at Cherokee Studios in LA . Famously, their soundtrack was never used and remains almost unheard to this day. This despite many signs at the time that it would be used. For instance, Bowie mentions the soundtrack on his Soul Train appearance, and that he was working on it with his friend, Paul Buckmaster. Also, on the rear cover of the paperback of The Man Who Fell to Earth, that had been reprinted with movie cover-art, it stated "Album available on RCA”. However, parts of the unused music were later incorporated into Bowie's albums Station To Station and particularly Low. Nic Roeg says that when Low came out, Bowie sent him a copy and said “This was the music I think I would have done for The Man Who Fell to Earth”. In this excerpt from David Bowie is The Man Who Fell to Earth, scenes from the movie have been reworked with tracks from the second side of Low. It is not known specifically what parts of Low originated in the 1975 sessions with Paul Buckmaster. And only Subteraneans credits Paul Buckmaster (with playing an ARP Odyssey Synthesizer). Young Americans and Station to Station producer, Harry Maslin recorded and produced the recording sessions for the soundtrack. He remembers things this way: "Nothing on Station to Station was recorded for The Man Who Fell To Earth...it was all meant for Station to Station", and he confirms, "I did record much for the film, some of which was used on Low." In the two famous photographs used at the end of the video, were taken by Brad Elterman, who had waited up all night to take them. It's Bowie and Paul Buckmaster, leaving Cherokee Studios at 7am. Harry Maslin "David is indeed carrying video tapes and shooting script of TMWFTE". How very intriguing that a rough cut of the film was actually produced, that features Bowie and Buckmaster's original music. What became of those video tapes?! In David Bowie is The Man Who Fell to Earth, it was decided not to use Warasawa from Low, because the music for it was composed by Brian Eno, which pretty much eliminates it from having originated from the Cherokee sessions with Paul Buckmaster. ______________________________ This video is an excerpt from the film David Bowie is The Man Who Fell To Earth - a film about a film - Nic Roeg's 1976 esoteric science fiction movie - The Man Who Fell to Earth. Roeg's film has beguiled and baffled audiences since it's release. It explores, often in abstraction and allegory, the themes of alienation, power, love, trust and betrayal. David Bowie is The Man Who Fell To Earth is an attempt to partly explain the movie. And it is a look at the way the film came together and at Roeg’s working methods, and at the creative process itself. And because it is a film about the creative process, it was felt that it should also in itself, try to also be creative. Complete film available now, only at: vimeo.com/nachosproductions vimeo.com/221740373 ______________________________ The music featured is as follows: Dennis Davis isolated drum track from Golden Years, from the 1976 David Bowie album, Station to Station, and the tracks, Art Decade, Weeping Wall, and Subteraneans, from the 1977 David Bowie album Low. The majority of the footage is from the 1976 Nic Roeg movie The Man Who Fell to Earth. Also featured is David Bowie’s appearance on Soul Train and on the Russell Harty Show, both in 1975. ______________________________ Hope you dig it! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie - Sense of Doubt - 1977
David Bowie – Sense of Doubt - 1977
2 years ago
Sense of Doubt is a track from David Bowie’s “Heroes” album, released on the 14th of October, 1977. The footage used here is from an Italian TV show called Odeon, filmed in October 1977. In September and October of ’77, Bowie undertook a short promotional tour around Europe. Usually he performed “Heroes” - in some cases it was sung live, in others it was mimed. In the Odeon performance, he’s only miming. But on this show only, along with an almost complete version of “Heroes", we additionally get a performance of Sense of Doubt. The show is a gorgeous thing to look at - the set - the RCA Recording studio in Rome, the lighting, the grand piano, and Bowie of course. In 1977, at 30 years old, he was in my opinion at his most beautiful. He’s in a style somewhat reminiscent of his early Ziggy days - the confident rocker - leather jacket, jeans and boots. But the real satisfaction to me, is that here we are seeing him, just a few weeks after recording the Heroes material, in a recording studio, with a bunch of vintage instruments and equipment. I have long admired the shots of Bowie, Brian Eno and Robert Fripp recording Heroes in the Hansa studio, and perhaps this video is about as close as we are gonna get to the flavour of him at those sessions. Matteo Tonolli, has kindly written the following: In the beginning of October 1977, David Bowie arrived in Rome to promote his new album. It was titled "Heroes", like the single, and it would go on to become one of the great classics of his discography. It was not David’s first time in Italy or in Rome, but he had never performed a live show in Italy at the time, and he would not do so for another ten years. At that time, he was interviewed by the talented journalist, Fiorella Gentile, and it was broadcast shortly after. Strangely, it has never been rebroadcasted since 1977, despite their being a video recording in the archives of RAI, the Italian public TV channel. Today we can just see some beautiful photos from that meeting. People who saw the interview are still waiting to see it again, like many fans who did not even have that fortune. Bowie was also filmed for the program Odeon, in which he talked about himself over the ethereal notes of 'Sense of Doubt', and mimed to “Heroes”. Recordings of this show are still readily available everywhere on the Net, in the Italian language, and it is a precious and remarkable treasure for Bowie fans. The Odeon was filmed on 8th October, and Piero Togni, an Italian photographer who specializes in photographing musicians, was there to immortalize with his camera the new incarnation of the man who was once an alien, a soul singer and a Duke. Incredibly, his photos were not published until last month, when the Italian magazine PROG ITALIA asked him for them. So only now we can see these wonderful photos, forgotten for 40 years in the archives: "I have photographed many international musicians but it was the first time I met David. The session was in a RCA studio in Rome. I had thought I would find an ocean of journalists and photographers. Instead it was just me and a small troupe ready for the interview, filmed in various corners of the studio, and next to the piano. Bowie had been very kind with me... the interview was cut putting together his thoughts about his marriage and his artistic career. At the time he used to live in Berlin and I was impressed by his narration about a couple that was meeting every afternoon by the Wall, just in front of the windows of the Hansa Studios, where he was recording "Heroes". I could perceive that feeling, romantic, harsh and yearning at the same time into the songs and the lyrics of the album. I didn’t meet David again, but I carry that remembrance in my heart and I still recall that sensation with the same feeling... I had quite forgotten these photos. What joyfulness to see them again, published for the very first time." (Piero Togni) Matteo is an organizer & main contributor of the Italian Bowie site: www.davidbowieblackstar.it facebook.com/davidbowieblackstar He reviews Bowie books, writes articles and coordinates the contents from the different contributors. He has also interviewed many Bowie collaborators. -------------------------- The original Sense of Doubt segment on the Odeon show was cut up, with a chunk of the track missing and it was interrupted by interviews with Bowie, dubbed into Italian. Using three different sources of parts of the show, I have tried to edit the parts into a whole. I erased (with only partial success) the TV station tags and titles. I have mostly left the original editing as is, and where sections had to be added, I tried to make them flow naturally in the style of the original. Hope you dig it! I don't own the rights to any of this material, my videos are labours of love, and I'm not making any money out of them. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie - "Heroes" - Top of the Pops - 1977
David Bowie - "Heroes" – Top of the Pops - 1977
2 years ago
“Heroes” was originally released as a single on the 23rd of September 1977, and was then subsequently a track on David Bowie’s “Heroes” album, released a few weeks later, on the 14th of October. The Top of the Pops performance was recorded exactly forty years ago today, on the 19th of October 1977. It is a particularly interesting performance because it was sung live, in front of an audience in the Top of the Pops studio, and over a new backing track, recorded with a one-off band the previous day. Roger Griffin, the author of the excellent book, “David Bowie The Golden Years”, and creator of the website Bowie Golden Years www.bowiegoldenyears.com/ has kindly written something exclusively for the notes about this video, about that time in October ’77, when Bowie was in London for the Top of the Pops performance: On the 20th of October 1977, Top of the Pops featured Bowie performing “Heroes“, the last of a series of performances of the new single on television. He’d completed work on the album in Berlin, and as mixing continued in Montreux, Bowie flew to UK in September. He appeared on Marc Bolan’s show and Bing Crosby’s Christmas Special (UK) then in October, L'altra Domenica and Odeon (Italy), Pop Shop (Netherlands) and Les Rendez-vous du Dimanche (France). Perhaps nonplussed by the variety of setups for those performances, Bowie arranged with “Heroes” producer Tony Visconti to assemble a small group to make a pre-recorded backing tape for Bowie’s first Top of the Pops appearance in five years. The day before the broadcast, Bowie arrived in London and headed straight to Visconti’s Good Earth studios in Soho for the recording session with Visconti, pianist Sean Mayes and guitarist Ricky Gardiner. Mayes’ band Fumble had opened for Bowie and the Spiders back in 1972. “I’d heard nothing from him for five years,” Mayes told David Currie. “Then out of the blue came a phone call to do “Heroes” for Top of the Pops”. Ricky Gardiner had played guitar on Low, Lust For Life and Iggy’s 1977 tour. “I was asked to reproduce Robert Fripp's line,” he told Stephen Dalton in 2001. “I did not realise at the time that he had used an E Bow. I did my best using feedback alone. As we went through the song, my amplifier started dying. As the song finished, so did the amp.” Bowie then taped his appearance at the BBC studios, accompanied by the new backing track, before heading back to Soho with Visconti for a drink. The next day, Bowie told the Melody Maker at the Dorchester Hotel that this unprecedented amount of promotion was “to prove my belief in the album. Both Low and “Heroes” have been met with confused reactions. That was to be expected, of course. But I didn't promote Low at all, and some people thought my heart wasn't in it.” Roger’s work, documenting the professional and significant personal activities of David Bowie, during the ‘70’s and early ‘80’s, is an invaluable source of information to me, as it must be for any serious student of Bowie. Roger’s Bowie Golden Years website has been one of my most valuable resources for Bowie facts since I’ve been making these videos. Currently most of the site is offline, being redesigned. However, from Roger’s website, here is the 1977 Allan Jones interview with Bowie, in London at The Dorchester Hotel the day after the Top of the Pops broadcast: www.bowiegoldenyears.com/articles/771029-melodymaker.html ________________ The Top of the Pops performance of “Heroes” is quite commonly available online, and a portion of it was in this years Bowie at the BBC show. However, like the majority of classic Bowie performances, a completely satisfactory version has not previously been readily available. Prior to this video, the Top of the Pops performance has been available in low quality / incomplete / marred by info text boxes / canned applause obscuring the opening of the track etc. Sourced from three digital broadcasts, and three pre-broadcast recordings and outtakes, this version is complete. It includes a pre-broadcast section which gives us a glimpse into the behind the scenes filming of the show - basically presenter Dave Lee Travis larking about, until what sounds like the shoot manager calling for quiet on the set. It includes a brief shot of Bowie leaning on a piece of the set, waiting to start the performance, and he can be heard clearing his throat before the backing tracks starts. Hope you dig it! Do me an' yerself a favor - watch it in the Highest Def available with the sound UP LOUD! If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another huge labour of love, made with love and with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie is The Man Who Fell To Earth - Chapter 1 - All Things Begin & End in Eternity - 2017
David Bowie is The Man Who Fell To Earth – Chapter 1 – All Things Begin & End in Eternity - 2017
2 years ago
Complete film available now, only at: vimeo.com/nachosproductions vimeo.com/221740373 This is a film about a film - Nic Roeg's 1976 esoteric science fiction movie - The Man Who Fell to Earth. Roeg's film has beguiled and baffled audiences since it's release. It explores, often in abstraction and allegory, the themes of alienation, power, love, trust and betrayal. David Bowie is The Man Who Fell To Earth is an attempt to partly explain the movie. And it is a look at the way the film came together and at Roeg’s working methods, and at the creative process itself. And because it is a film about the creative process, it was felt that it should also in itself, try to also be creative. It is quite widely known that Bowie and his music were greatly influenced by Roeg and the time he spent working on the film. And so David Bowie is The Man Who Fell To Earth also tries to paint a small portrait of Bowie and his music during the era - from latter part of ’74 up to the January 1977 album, Low. Bowie also created music that was intended for the soundtrack to The Man Who Fell to Earth. Famously, it was never used and remains almost unheard to this day. However, parts of the unused music were later incorporated into his albums Station To Station and Low. And so, as part of the story telling in David Bowie is The Man Who Fell To Earth, some of Bowie’s music from those albums is used with re-edits of scenes from the movie, worked in with the interviews and commentary. Whether or not David Bowie is The Man Who Fell To Earth is actually successful in these endeavors, you may judge for yourself. At the very least it is an hour in the brilliant and highly enjoyable company and art of Nic Roeg, David Bowie and Candy Clark. ______________________________ Was Newton an alien? In the first TV interview where he talks about the movie, Bowie becomes visibly irritated when host Russel Harty describes Bowie's Thomas Jerome Newton character as an alien, and he almost chastises Harty for his presumptuousness; "…it's assumed he's an alien from outer space, but it may not necessarily be true". Yet on the surface at least, Newton is an alien, who has come to earth to transport water back to his own dying planet. And in interviews Roeg always refers to Newton as an alien. Whereas Bowie doesn't seem so certain about Newton’s origins, or his mission. In the 1992 The Man Who Fell To Earth commentary, Bowie says, "Newton knows he's going to be betrayed, it's very obvious, but he seemingly doesn't do very much about it. So he must be here for some other purpose". As Bowie points out, there are Christ-like parallels. We can hypothesize that Newton’s falling to earth without any evidence of a space ship, is a kind of Immaculate Conception. And he arrives apparently a very pure being, who helps humanity advance and only seeks for himself a way to help his people. What are we to think is the "other purpose" for him being here? Perhaps he came, like Christ to test human-kind? And then of course there is the betrayal. But in the end Newton wasn't born again. He becomes a ruined and lonely reflection of the contemporary culture of decadence and self-destruction. _______________________________ The majority of the footage used here is of course from The Man Who Fell To Earth. But in addition another approximately fifty video and audio sources were used. Fourteen partial David Bowie tracks were used, as re-imagined parts of the movie soundtrack, and also fairly gratuitously as excuses to just add some rocking tracks that had new or revised videos put together for them. All tracks and sources are listed in the credits at the end of the film. And listing them here would also be a kind of a spoiler - so let’s not do that! Like a lot of my video projects, this thing happened by accident. Whilst I was working on the video for Subterraneans, I decided that it would be good to have an accompanying video that compiled in a very simple way, all the relevant interviews with Bowie where he talks about the film. I imagined that at most, it would be a thing of about 15 or 20 minutes. However, as is usually the case with me, I went very deeply into it, and found a lot more material than I bargained for. It quickly became clear that here was a great story that needed to be told in film, and the thing just kept growing in size and in complexity. In the end I have been working on it consistently for the last 3 months and put in perhaps 700 hours of work. And now I feel that I’ve done almost everything I can with the project, and I am reasonably satisfied it has some value, and I feel okay about sharing it. Showing it today to a friend, who was seeing it for the first time, I saw myriad ways it could be improved. There is always more that one can do, but at some point the line has to be drawn. Hope you dig it! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans.
David Bowie - Look Back in Anger - 1979 - Tony Visconti 2017 Remix
David Bowie – Look Back in Anger – 1979 - Tony Visconti 2017 Remix
2 years ago
David Bowie - Look Back in Anger - 1979 - Tony Visconti 2017 Remix Look Back in Anger is a track from David Bowie's album "Lodger", which was released in May, 1979. The material for Lodger was recorded for the most part in September of 1978, during the four month break in the Isolar II world tour. The material was then finished in March of 1979. In the US Look Back in Anger was also a single. The shocking androgyny (!) of Boys Keep Swinging and it’s accompanying “outrageous” David Mallet directed video was thought to be unsuitable for the US market, and so Look Back in Anger was chosen instead as the single from Lodger. It was released in the US on the 20th of August 1979, and despite being accompanied by another David Mallet video, it failed to chart. At the time NME critic Charles Shaar Murray described Look Back in Anger as "probably the low point" of the album. I bought Lodger the day it came out, and to me the song was (and remains) the obvious standout track of the album. I agree with Chris “Pushing Ahead of the Dame” O’Leary, in that Look Back in Anger is “one of Bowie’s major songs of the late ’70s”. Beyond the shared title, the song has nothing to do with the John Osborne play Look Back in Anger. Tho’ Osbourne’s play begins in an attic much like the setting of Mallet’s video. Chris O’Leary again, on the video, “Bowie, in an artist’s loft, paints himself as an angel and then, reverse-Dorian Gray style, transforms into a grotesque with paint- and clay-encrusted skin. In the final shot, Bowie drags himself up the stairs and crawls under his bed. It’s as though he’s been made leprous by his art, and he’s sickened by himself.” bowiesongs.wordpress.com/2011/07/22/look-back-in-anger/ Unlike most of Lodger, Look Back in Anger doesn’t feature lead players Adrian Belew, Roger Powell or Simon House. It is predominantly the work of the D.A.M. Trio rhythm section: Dennis Davis: Drums George Murray: Bass Carlos Alomar: Guitar In addition Sean Mayes is on Piano and Brian Eno on Synthesizer (and Horse trumpet and Eroica horn - whatever they are?!) ____________ 36 years after it’s original release, Parlophone have included a new Tony Visconti remix of the entire Lodger album in the new Bowie box set, A New Career in a New Town. Legend has it that the original mixes of Lodger were never satisfactory to Visconti and Bowie, having been done on sub-standard equipment, due to an overbooked studio. Hard to believe that another artists work was more important than mixing a new Bowie album! Anyway, in the sleeve notes for the new remix Visconti says that his intention was to try to present Lodger as good sonically as the follow up album, Scary Monsters. The new mixes were done with Bowie’s approval and he had heard at least some of them, we are assured. Personally, I’m still scratching my head over this new Lodger and cannot decide yet what I think of the mixes. _____________ I haven’t done much here. Starting out with the best quality version of the original Look Back in Anger video that I could find, I have synced it to Tony Visconti’s new mix. The new mix is faster than the original, so in general the video has been sped up by about 5%. The new mix also has a longer outro fadeout. To accommodate this longer ending, the final part of the video, after Bowie’s lead vocal ends, has been slowed by about 20%. The quality of the original video always seemed a bit murky and washed out to me, so I’ve added just a little sharpening, contrast and color saturation. Hope you dig it! Do me an' yerself a favor - watch it in the Highest Def available with the sound UP LOUD! If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another huge labour of love, made with love and with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie is The Man Who Fell To Earth - Prologue - 2017
David Bowie is The Man Who Fell To Earth - Prologue - 2017
2 years ago
Complete film available now, only at: vimeo.com/nachosproductions vimeo.com/221740373 This is a film about a film - Nic Roeg's 1976 esoteric science fiction movie - The Man Who Fell to Earth. Roeg's film has beguiled and baffled audiences since it's release. It explores, often in abstraction and allegory, the themes of alienation, power, love, trust and betrayal. David Bowie is The Man Who Fell To Earth is an attempt to partly explain the movie. And it is a look at the way the film came together and at Roeg’s working methods, and at the creative process itself. And because it is a film about the creative process, it was felt that it should also in itself, try to also be creative. It is quite widely known that Bowie and his music were greatly influenced by Roeg and the time he spent working on the film. And so David Bowie is The Man Who Fell To Earth also tries to paint a small portrait of Bowie and his music during the era - from latter part of ’74 up to the January 1977 album, Low. Bowie also created music that was intended for the soundtrack to The Man Who Fell to Earth. Famously, it was never used and remains almost unheard to this day. However, parts of the unused music were later incorporated into his albums Station To Station and Low. And so, as part of the story telling in David Bowie is The Man Who Fell To Earth, some of Bowie’s music from those albums is used with re-edits of scenes from the movie, worked in with the interviews and commentary. Whether or not David Bowie is The Man Who Fell To Earth is actually successful in these endeavors, you may judge for yourself. At the very least it is an hour in the brilliant and highly enjoyable company and art of Nic Roeg, David Bowie and Candy Clark. ______________________________ Was Newton an alien? In the first TV interview where he talks about the movie, Bowie becomes visibly irritated when host Russel Harty describes Bowie's Thomas Jerome Newton character as an alien, and he almost chastises Harty for his presumptuousness; "…it's assumed he's an alien from outer space, but it may not necessarily be true". Yet on the surface at least, Newton is an alien, who has come to earth to transport water back to his own dying planet. And in interviews Roeg always refers to Newton as an alien. Whereas Bowie doesn't seem so certain about Newton’s origins, or his mission. In the 1992 The Man Who Fell To Earth commentary, Bowie says, "Newton knows he's going to be betrayed, it's very obvious, but he seemingly doesn't do very much about it. So he must be here for some other purpose". As Bowie points out, there are Christ-like parallels. We can hypothesize that Newton’s falling to earth without any evidence of a space ship, is a kind of Immaculate Conception. And he arrives apparently a very pure being, who helps humanity advance and only seeks for himself a way to help his people. What are we to think is the "other purpose" for him being here? Perhaps he came, like Christ to test human-kind? And then of course there is the betrayal. But in the end Newton wasn't born again. He becomes a ruined and lonely reflection of the contemporary culture of decadence and self-destruction. _______________________________ The majority of the footage used here is of course from The Man Who Fell To Earth. But in addition another approximately fifty video and audio sources were used. Fourteen partial David Bowie tracks were used, as re-imagined parts of the movie soundtrack, and also fairly gratuitously as excuses to just add some rocking tracks that had new or revised videos put together for them. All tracks and sources are listed in the credits at the end of the film. And listing them here would also be a kind of a spoiler - so let’s not do that! Like a lot of my video projects, this thing happened by accident. Whilst I was working on the video for Subterraneans, I decided that it would be good to have an accompanying video that compiled in a very simple way, all the relevant interviews with Bowie where he talks about the film. I imagined that at most, it would be a thing of about 15 or 20 minutes. However, as is usually the case with me, I went very deeply into it, and found a lot more material than I bargained for. It quickly became clear that here was a great story that needed to be told in film, and the thing just kept growing in size and in complexity. In the end I have been working on it consistently for the last 3 months and put in perhaps 700 hours of work. And now I feel that I’ve done almost everything I can with the project, and I am reasonably satisfied it has some value, and I feel okay about sharing it. Showing it today to a friend, who was seeing it for the first time, I saw myriad ways it could be improved. There is always more that one can do, but at some point the line has to be drawn. Hope you dig it! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans.
David Bowie is The Man Who Fell To Earth - Coming Soon - 2017
David Bowie is The Man Who Fell To Earth - Coming Soon - 2017
2 years ago
David Bowie is The Man Who Fell To Earth - Coming Soon - 2017 Subscribe to: vimeo.com/nachosproductions Hope you dig it! Do me an' yerself a favor - watch it in the Highest Def available with the sound UP LOUD! If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another huge labour of love, made with love and with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie & Cher - Young Americans Medley - Live on The Cher Show - 1975
David Bowie & Cher – Young Americans Medley – Live on The Cher Show - 1975
2 years ago
The original version of Young Americans was recorded in August 1974, and released as a single in February, 1975, and in March, on the David Bowie album, Young Americans. The live medley with Cher was aired on November the 23rd, 1975. It was recorded at the CBS studios in Fairfax, Los Angeles. No recording date could be ascertained. The three Bowie Cher Show performances are so contrasting - the fierceness of Fame, the tenderness of Can You Hear Me and the showmanship of the Young Americans medley. Bowie claims to remember almost nothing of the recording of the show or of meeting Cher. This is consistent with his claims about the entire Station To Station / LA period where there was little sleep and sustenance was mainly in powder form. Years later Bowie speculated, “I was probably this crazed anorexic figure walking in. I’m sure she didn’t know what to make of me”. Bowie is so incongruous on the Cher Show. We know he was experimenting wildly in his personal life - famously at the furthest reaches of his coke habit, and with his music making - still immersed in the all-night recording sessions for his most ambitious and out-there album, Station To Station. So, what the hell was he doing on a prime time light entertainment program like The Cher Show? The Cher Show should not have worked. And yet… The November the 23rd, 1975 Cher Show starts with the host in a boob-tube doing a sing-song intro routine that culminates in her cream-pieing herself in the face, to excessive canned laughter and applause. As that scene fades, Fame starts and Bowie looks like he wants to kill someone… Unlike the drugged out debacle of his Soul Train appearance a few weeks prior, Bowie is totally on point throughout The Cher Show, including in The Young Americans Medley, which is the closing song of the show. But again, Young Americans is an incongruous choice. It had been a huge hit in the States, based on I think a misunderstanding that it was a celebration of American life, much like Springsteen’s Born in the USA a decade later. When in fact Young Americans is a darkly cynical song that even doubts the goodness of young love. I was thinking about this, and I realised that I too had been hoodwinked by the big upbeat groove of Young Americans and it’s catchy chorus. Having originally heard it on my first Bowie album, ChangesOne as a very young kid, I knew every note and sang along, but not knowing really I think, what it was I was joining in with. And in fact I think it wasn’t until seeing Young Americans used at the end of Lars Von Triers dark allegory Dogville, that I fully embraced the brilliance of Bowie’s cynicism in the song. At the end of that long and vicious story, three hours of minimalism and sadism on a bare sound stage, unexpectedly hearing the familiar drum intro of Young Americans, I abruptly laughed out loud in the movie theatre, suddenly in full realization of the meaning of the movie and of Bowie's song, as images flash up from Jacob Holdt's “American Pictures”of America at its worst and most squalid, and the credits roll. vimeo.com/151711641 btk.ppke.hu/uploads/articles/210912/file/B%C3%A9ri_Bal%C3%A1zs_2012.pdf The Young Americans medley on the Cher Show cuts off Bowie’s dark lyric pretty early on in the song, so there’s no carrying a razor, just in case of depression. But we get the premature ejaculation of “It took him minutes, took her nowhere’, because it’s in the opening verse. And then of course there is the medley. From the Bowie-fan perspective, there are good things about the performance. He’s in fine voice! In fact when he solos a bit of Only You, in his best Elvis voice, I just want him to continue the song. And he looks great - the cream slacks, the grey tweed jacket, the weird almost Cuban-heeled white patent leather boots! Having said that he’s totally together throughout the performance, watch him closely, there are one or two moments, when when the lost druggy vacancy of the Soul Train performance is glimpsed. To be honest, the cheesiness of the Young Americans medley is not massively my thing. But constructing this has been a useful break from tearing my hair out over the Subteraneans project. And having acquired a pretty decent quality version of The Cher Show, and enough subsidiary bits and pieces, including a pretty clean audio, to make it a considerable upgrade on what we have out there at the moment, it’s kinda a shame not to bung it out. Hope you dig it! Do me an' yerself a favor - watch it in the Highest Def available with the sound UP LOUD! If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another huge labour of love, made with love and with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie - Subterraneans - Excerpt - 1977
David Bowie - Subterraneans - Excerpt - 1977
2 years ago
David Bowie - Subterraneans - Excerpt - 1977 Subterraneans is the concluding track from David Bowie's 1977 album "Low". The album is a masterpiece, and Subterraneans is an deeply moving piece of music suggesting grief, separation, loneliness and longing. The footage used here is from Nic Roeg's 1976 movie, The Man Who Fell To Earth, starring David Bowie and Candy Clarke. Most of "Low" was recorded in France, in the latter part of 1976, with Tony Visconti, Brian Eno, and The D.A.M. Trio, and others. However, Subterraneans hails from an earlier time. It was recorded, for the most part in December 1975, in L.A., intended as part of the soundtrack of The Man Who Fell To Earth. The track was finished, a year later during the "Low" sessions, with overdubs by Brian Eno. I assume that the vocal is from the '75 sessions, as I haven't read anything to the contrary. From Wiki: After the Station to Station sessions ended in November 1975 at Cherokee Studios in Los Angeles, David Bowie recorded "Subterraneans" within those studios in December 1975. The song later received overdubs by Brian Eno. The sleeve notes of Low credit "Peter and Paul with additional ARP synthesizer and piano." The "Peter and Paul" mentioned are Peter Robinson, who played Fender Rhodes, and Paul Buckmaster (the composer of the string arrangements for the Rolling Stones' "Moonlight Mile (song)") who played the ARP Odyssey. Peter Robinson and Paul Buckmaster worked with Bowie at Cherokee Studios in late 1975 on the aborted movie soundtrack to the Man Who Fell to Earth. "Subterraneans" was ultimately the most heavily edited song on Low, with David Bowie's saxophone, as well as multilayered synthesizers and reversed instrument sounds from Brian Eno, floating underneath a moaned vocal which is wordless until around the final ninety seconds. The soundscapes contain a cinematic quality which evokes the feel of Miles Davis' landmark album In a Silent Way. I first saw The Man Who Fell To Earth at the cinema, when I was about 14 years old. Vanessa, my Bowie girlfriend and I somehow managed to convince the person in the box office to allow us entry, tho' it was an "X" rated film. I think it's fair to say that seeing it blew our young minds. I'm grateful to Mr. Bob Wilson, who sent me a beautiful message last year, and by pure Bowie serendipity, was suggesting a Subteraneans video made with The Man Who Fell To Earth footage, when just a couple of days prior, I had already begun the very thing. Bob told me that in his student film-making days in the early 80's, he gave himself the project of making a Subteraneans video, with The Man Who Fell To Earth footage, on old VHS machines. Bob finished his video, and he said he was very satisfied with it. So he and I discussed the project to and fro, and I got some good ideas from him. Unfortunately, thirty years later, Bob cannot find the tape of his Subteraneans video. Tho' of course I never actually saw Bob's Subteraneans, I feel like I'm kinda recreating his project. Hope you dig it! Do me an' yerself a favor - watch it in the Highest Def available with the sound UP LOUD! If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another huge labour of love, made with love and with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie - Speed of Life - Live 1978
David Bowie – Speed of Life – Live 1978
2 years ago
Speed of Life was originally a track from David Bowie’s 1977 album "Low" - the melodic yet brittle instrumental that opened the album. The audio of this live version is from the 2005 Tony Visconti remaster of the David Bowie’s 1978 album, “Stage”."Stage" was recorded live in 1978 on the “Isolar II” world tour. The recordings were made in the Spring of ’78, during the early part of the tour, at U.S. shows, in Philadelphia, Boston and Providence. The footage used here is from the show at Dallas Convention Centre, in Texas, on the 10th of April, 1978. The show was shot by RCA as a promotional film for "Stage". Thankfully the 21 minute film survived in great quality, and is easily the best record we have of the ’78 tour. Speed of Life was played live on the 1978 Isolar II tour quite faithful to the original, though with a great deal more bounce. As Chris O'Leary states in his Pushing Ahead of the Dame, Speed of Life article, "Low begins mid-sentence, it’s opening track suddenly fading up". bowiesongs.wordpress.com/2011/02/14/speed-of-life/ The rather inauspicious way the track, and therefore the album, just starts up, always felt to me like we'd missed the beginning of something. Perhaps Bowie deliberately wanted to open the album that way, without fuss or fanfare? Whereas the live version starts with a much more strident descending synth riff and immediately Dennis Davis leaps straight in with a quick-fire drum fill, and we are off at the Speed of Life! It’s place in the set was it seems, a deliberate pick me up after the gloomy Sense Of Doubt, and it preceded Breaking Glass, just as it did on Low. It is 39 years since the Isolar II tour began, in spring 1978, and it’s almost 39 years to the day of the Dallas show itself. I’m choosing to upload this video on today, April 6th as a tribute to Dennis Davis who died one year ago on this day. Dennis Davis, was David Bowie's incredible drummer from his golden period, 1974 to 1980, Fame to Scary Monsters. After learning of Dennis' death last year, I wrote: I am often praising Davies' drumming when I write about Bowie's music. He was one third of the holy trinity of the then Bowie rhythm section, that also included Carlos Alomar on rhythm guitar, and George Murray on bass, AKA The D.A.M. Trio. Davies' drumming astonishes me with its dexterity and precision, holding down perfect rock, funk and disco grooves whilst he rolls around the kit in the most surprising ways. Here is part of Tony Visconti's tribute to Davies, that he wrote last year: "He was one of the most creative drummers I have ever worked with. He came into David Bowie's life when we recorded some extra tracks for Young Americans and stayed with us through Scary Monsters and beyond. He was a disciplined jazz drummer who tore into Rock with a Jazz sensibility. Listen to the drum breaks on Black Out from the Heroes album. He had a conga drum as part of his set up and he made it sound like two musicians were playing drums and congas. By Scary Monsters he was playing parts that were unthinkable but they fit in so perfectly." In case you missed it, Dennis Davis extraordinary 10 year old son, Hikaru Davis, has started a beautiful initiative: “Tracing My Dad - The Life and Music of Dennis Davis”. It is a video tribute series to his late father, whereby Hikaru interviews the musicians that knew and worked with Dennis Davis. Hikaru really wants to get more followers and comments and likes on his social media platforms, so it would be great if he could get some support from Bowie fans. You can find him online as The HD Projects: facebook.com/thehdprojects ruvideos.org/c/UCY2aDqSy2_g6hysuYU7uOPw Oh, and lastly... at the end of the video is a small bonus. It's a remnant of an old project that I was never able to complete to my satisfaction. The footage is from the same Dallas '78 show, tho' perhaps some people haven't seen it before. Actually, I've been desperate to do something with this footage, and even tried to make an entire video based around it. Anyway... Hope you dig it! Do me an' yerself a favor - watch it in the Highest Def available with the sound UP LOUD! Footage supplied by the db Digital Archive. If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another huge labour of love, made with love and with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie - What In The World - Live 1978
David Bowie – What In The World – Live 1978
2 years ago
What In The World was originally a track from David Bowie’s album "Low", released in January 1977, the first of four extraordinary ground breaking records he produced that year. The audio of this live version is from the 2005 Tony Visconti remaster of the David Bowie’s 1978 album, “Stage”. "Stage" was recorded live in 1978 on the “Isolar II” world tour. The recordings were made in the Spring of ’78, during the early part of the tour, at U.S. shows, in Philadelphia, Boston and Providence. The footage used is from the show at Dallas Convention Centre, in Texas, on the 10th of April, 1978. The show was shot by RCA as a promotional film for "Stage". Thankfully the 21 minute film survived in great quality, and is easily the best record we have of the ’78 tour. The original version of What In The World is a wonderful, short, brittle and abrasive avant-pop track from side one of Low. That original cut is just a little over 2 minutes long. However, for the ‘78 tour the song was quite radically rearranged,. It was doubled in length, split into two and transformed into something enormously enjoyable. For me the track is one of the highlights of the set. Musically the first half was unrecognizable from the original, having become a slower, funky reggae-tinged groover. Then after a quick drum break, the beats are doubled in time and the band belt out something closer to the original. The entire lyric of the Low original is sung in full, in both sections. And Bowie’s vocal is a joy - he’s ditched the cold severity of the studio version and sings with emotion and a more developed melody. Carlos Alomar was the rhythm guitarist and musical director for the tour. It is likely that it was Carlos and his rhythm buddies, Dennis Davis on drums and George Murray on bass, collectively The D.A.M. Trio, that came up with the new grooves. It is hard to overstate the importance of the D.A.M. Trio on Bowie’s output from 1975 to 1980. After Dennis Davis death last year, Carlos wrote an article about his friend Dennis and the D.A.M. Trio, “The uniqueness of the D.A.M. Trio was that Bowie allowed us to work the arrangements with just the Trio. Everyone else would over-dub. To that end, the sky was the limit…no idea was out of bounds.” carlosalomar.wordpress.com/2016/04/25/the-making-of-david-bowies-d-a-m-trio/ In the comments section of Chris O’Leary’s What In The World article on his “Pushing Ahead of the Dame” blog, “Ian” writes, “I think the Alomar/Davis/Murray trinity was a great foil. It sort of seems like DB comes to town with some chord progressions, a melody or two, and little more than a shell, and Alomar and the dudes take those and make either a really solid Jam that Bowie can do whatever he wants over, or they make a more put-together song. What I mean to say is, I love giving Alomar as much credit as people give Ronson.” bowiesongs.wordpress.com/2011/02/07/what-in-the-world Dennis Davis extraordinary 10 year old son, Hikaru Davis, has started a beautiful initiative: “Tracing My Dad - The Life and Music of Dennis Davis”. It is a video tribute series to his late father, whereby Hikaru interviews the musicians that knew and worked with Dennis Davis. In Volume 3, Hikaru interviews Carlos Alomar: HD: If you could play one song… with Dennis… what would it be? CA: What In The World… a simple song, but the music was so cool, I love playing that kind of stuff. From Tracing My Dad… Volume 3: ruvideos.org/nY0JBiRBLH4-video.html And so this video is dedicated to Hikaru. Tracing My Dad… is a beautiful, heartfelt project and I wish him the best of luck with it. I’ll be helping him along the way, where I can. He really wants to get more followers and comments and likes on his social media platforms, so it would be great if he could get some support from Bowie fans. You can find him online as The HD Projects: facebook.com/thehdprojects ruvideos.org/c/UCY2aDqSy2_g6hysuYU7uOPw As always… Hope you dig it! Do me an' yerself a favor - watch it in the Highest Def available with the sound UP LOUD! Footage supplied by the db Digital Archive. If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another huge labour of love, made with love and with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie - John, I’m Only Dancing - Promo - 1972 - Nacho Edit
David Bowie - John, I’m Only Dancing – Promo – 1972 – Nacho Edit
2 years ago
David Bowie’s John, I’m Only Dancing was released as single, on September the 1st, 1972. It had been recorded a few months prior, in June of that year. Then six months later, it was re-recorded during sessions for the Aladdin Sane album, and also released as a single, in April 1973. Confusingly, the ’73 single was given the same catalogue number as the ‘72 version. Fans distinguish the latter recording by referring to it as the “Sax Version”. Neither version was included on any original Bowie album. Later still in 1974, Bowie recorded a song called John, I’m Only Dancing (Again), in the Young Americans Philly-soul style that he was experimenting with at the time. Tho’ the song title is used, the ’74 version bears almost no resemblance musically, or (apart from the chorus) even lyrically, to the earlier version. Used here for this video is the 1972 original recording. The footage used in this video is taken from the 30 minute, 16mm, silent out-takes reel, shot by Mick Rock, on August the 19th, 1972, for the official video that accompanied the single release. The shoot was at London’s Rainbow Theatre, during the rehearsals for the show at the venue that evening. In some scenes, the familiar Rainbow Theatre on-stage scaffolding, glimpsed on the live footage of the show, can be seen. Quoting from fiveyears.com: “Mick Rock has said that this video was a last minute decision on Bowie's part and that he had only a $200 budget for the film. Rock managed to find a cameraman at short notice and states that due to the low budget - Bowie and The Spiders were filmed simply miming to the song (played on the Rainbow theatre's record player) which caused Rock some lip-synch problems later on. (The John, I’m Only Dancing promo is) "the very moment the modern idea of a video was born." - Lester Bangs John, I’m Only Dancing, is one of the four brilliant Bowie promos that Mick Rock produced during the Ziggy era. The others being Space Oddity, The Jean Genie, and Life On Mars. Like all of Mick Rock’s footage and photos of Bowie at the time, the John, I’m Only Dancing video is classic, iconic and super cool. John, I’m Only Dancing was a wonderful deviant Rock n’roll song, and Mick Rock’s video brilliantly accentuated that. Incidentally, I have previously worked on one of the other classic Mick Rock Bowie videos. Last year, I recreated the original cut of his Life On Mars video, and it can be viewed here, on my parallel Nacho channel, on Vimeo: vimeo.com/195963684 Later, in 1979 RCA released a single of the previously unreleased John, I’m Only Dancing (Again) that was recorded during the ’74 Young Americans era, and the 1972 recording of John, I’m Only Dancing was used as the B-side. With no video for the A-side, the single was promoted on TV with the B-side, and Mick Rock’s 1972 video. Incidentally, in my faulty memory I had at some point mistakenly thought that there was a video for the ’74 version. In this imaginary video, Bowie and his pals are mostly just hanging out looking swanky in their funky soul-man Puerto Rican style threads. And maybe some day, if I can find enough high swank-factor footage, I’ll have a go at making that video! Anyway, so it was that in 1979, I first saw Mick Rock’s John, I’m Only Dancing video. I was already a young Bowie fan, and familiar with the song. I seem to recall that the video freaked me out a bit, because of it’s extraordinary campness and the creepy green-lit fishnet clad mime dancers. Tho’ the fantastic Rock n’Roll swagger and rebelliousness of it all thrilled me to bits. The silent 30 minute, 16mm reel of John, I’m Only Dancing outtakes was transferred to video by Mainman in 1995. It has been in the hands of collectors since then, and bits and pieces of the footage can be found on the net. Having acquired a copy of the transfer myself a few months ago, I started investigating it, checking out the different silent scenes of Bowie and the boys miming and pouting, and in Bowie’s case, profusely smoking. I saw so many gorgeous moments that were not used in the original John, I’m Only Dancing promo, and I became attracted to the idea of creating my own video for the song. In the construction, it has been a nice change for me to have plenty of material to work with, and in fact one of the difficulties in the beginning was deciding which of the many takes to use. Hope you dig it! Do me an' yerself a favor - watch it in the Highest Def available with the sound UP LOUD! Footage supplied by the dbDigital Archive. If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another huge labour of love, made with love and with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie - Suffragette City - Live at the Imperial College of London - 1972 - Speed Corrected
David Bowie - Suffragette City – Live at the Imperial College of London – 1972 - Speed Corrected
2 years ago
David Bowie - Suffragette City - Live at the Imperial College of London - 1972 - Speed Corrected Suffragette City is originally a song from David Bowie’s album, "The Rise and Fall of Ziggy Stardust and the Spiders from Mars", recorded in late ’71, and released in June ‘72. This early live and raw, proto-punk version of Suffragette City was recorded at The Imperial College of London, on the 12th of February 1972. That was 45 years ago today. It was only the third gig by the Ziggy & the Spiders, only the third time they had played this song live, presumably. According to this nice feature on the official Bowie site, the Imperial College gig is considered the first proper Ziggy & the Spiders gig. www.davidbowie.com/news/ziggy-imperial-college-day-1972-54146 Performed here just three months after the release of Hunky Dory, and just one week after the actual recording session for Suffragette City, on February the 4th at Trident Studios in London, that was the last session that made up the Ziggy Stardust… album. The band here are the original Spiders From Mars, prior to the addition of Mike Garson on Piano, later that year: Mick Ronson: guitar, backing vocals Trevor Bolder: bass guitar Woody Woodmansey: drums Musically, one cannot help but notice the big Stooges influence going on. As has been long understood, this is no coincidence: Iggy & The Stooges Ziggy & The Spiders Uploading again to correct the speed of the original. The French broadcast plays about 8% too slow. Last time around I didn’t dare correct the speed, thinking Bowie and the boys must have played it slow, in a different key that night. But with hindsight that seems very unlikely. Plus, the INA Heroes on French TV, 1977 similarly plays noticeably slow, so there seems to be a pattern... In the same feature from the official Bowie site, it mentions that 20 minutes of footage was shot by the French film crew at the Imperial College gig. But it languishes in the vaults due to poor sound quality. How frustrating! Give it to me - I’ll fix the sound! Original technical notes: This video was originally broadcast on French TV. In the original, there is talk - in French - all over the intro to the song. As part of the restoration, I rebuilt the intro of the song - about the first 10 seconds, using samples from the main body of the track. As I was already taking the liberty of rewriting history, I decided to also add Mick Ronson’s first “Hey man!” backing vocal, as in the original it is almost completely inaudible. I also boosted the overall sound of the track through some EQ to try to beef up the rather weedy sound of the original recording. As always, hope no one is offended by my tamperings. Hope you dig it! Do me an' yerself a favor - watch it in the Highest Def available with the sound UP LOUD! If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another huge labour of love, made with love and with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie - Suffragette City - Live in Tokyo - 1978 - Remastered HQ Sound
David Bowie – Suffragette City – Live in Tokyo – 1978 - Remastered HQ Sound
2 years ago
David Bowie - Suffragette City - Live in Tokyo - 1978 - Remastered HQ Sound Suffragette City is originally a song from David Bowie’s album, "The Rise and Fall of Ziggy Stardust and the Spiders from Mars", recorded in late ’71, and released in June ‘72. Despite its enduring popularity, Suffragette City was never a hit single. When it was finally released as a single in 1976, it failed to chart. This live version, is from the Nippon Budokan, Tokyo, Japan, on the 12th of December, 1978, the last date of the Isolar 1978 world tour. Bowie played Suffragette City on every tour in the 70’s, one of the few songs to enjoy that privilege. It was dutifully played on the ’78 tour, as part of the mini-Ziggy set. In the latter part of the tour, it concluded the Ziggy set. Looking at the stats on setlist.com, Bowie played Suffragette City 498 times throughout his career, putting it at the number 5 position of his most frequently played songs. Having said that, this Tokyo performance was not only the last time Suffragette City was played live in the 70’s (the first time was at the Imperial College in London, in February 1972) but it was also the last time Bowie played it live, until 1990. www.setlist.fm/stats/david-bowie-6bd6ee66.html Suffragette City was not included on the Stage album, perhaps because it had been on the previous live album, David Live. Unfortunately even on the 2005 remastered version of Stage we are still missing several tracks that were frequently played on the tour: Jean Genie Suffragette City Rock n’ Roll Suicide Rebel Rebel So, as its stands, this Tokyo performance is the only soundboard quality version of Suffragette City available to us. I have gripes with the sound on the Tokyo show, but this version of Suffragette City sounds pretty good despite that. Let’s hope that when the official box set things catch up to this era, these tracks will be included. Look out for the lovely moment at around 1:55, of Bowie and drummer Dennis Davis singing the chorus to each other. Davis doesn’t have a vocal mic; he’s just enjoying himself, as he always seems to be when he is playing drums. Not a vast amount of video editing was done here (for a change, thank God!). The significant difference is that I’ve added a much better sounding audio source, from the same show. Hope you dig it! Do me an' yerself a favor - watch it in the Highest Def available with the sound UP LOUD! If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another huge labour of love, made with love and with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie & Cher - Can You Hear Me - Live on the Cher Show - 1975 - Remastered
David Bowie & Cher – Can You Hear Me - Live on the Cher Show – 1975 - Remastered
2 years ago
The original version of Can You Hear Me was recorded in late 1974, and released in March 1975, on the David Bowie album, Young Americans. Nine months later, in late November ‘75, Can You Hear Me was used as the B-side of Golden Years, the first single from the forthcoming Station To Station album. The live vocal duet with Cher was aired on November the 23rd, 1975. It was recorded at the CBS studios in Fairfax, Los Angeles. No recording date could be ascertained. The three Bowie Cher Show performances are so contrasting - the fierceness of Fame, the showmanship of the Young Americans medley, and the tenderness of Can You Hear Me. As a Bowie fan, it is tempting to ruminate on whether it would have been be better if the performance of Can You Hear Me had been by Bowie alone. But in my opinion this duet is a delight - Cher’s extraordinary beauty and her gorgeous, seemingly effortless singing voice are a fine compliment to Bowie’s. Bowie gives her perhaps the best line of the song, “I want love so badly, I want you most of all”. And she handles it beautifully, with her apparent ease. Another highlight of the performance comes later in the song, when Bowie flirts quite outrageously with Cher, causing her to blush. Bowie claims to remember almost nothing of the recording of the show or of meeting Cher. This is consistent with his claims about the entire Station To Station / LA period where there was little sleep and sustenance was mainly in powder form. Years later Bowie speculated, “I was probably this crazed anorexic figure walking in. I’m sure she didn’t know what to make of me”. It might seem somewhat surprising that Bowie didn’t choose to perform his new single, Golden Years which was released the same week the Cher show was aired. But not a man who liked to repeat himself, two and half weeks prior to the Cher show, Bowie had stumbled his way through Golden Years on Soul Train, and so perhaps he thought there was no need to perform it again. The intro to my video is of course from the notorious “live by expensive satellite” Russell Harty TV interview. Bowie was in “beautiful downtown Burbank, Los Angeles” (about 10 miles from Fairfax, where the Cher Show was recorded) and Harty in London. The interview was recorded just four days after the Cher show, and it’s interesting to note that in both shows, Bowie has the same lack-of-sleep late-night lines under his eyes. Towards the end of the Harty interview, Bowie introduces the Soul Train performance of Golden Years, utterly unashamed of the fact that his abilities are noticeably under the influence of “a couple of drinks”. “Does it show?” ask Harty. “Oh yes!” says Bowie. When I was dreaming up this vid, in my memory Russell Harty said at the beginning of the interview, “Can You Hear Me, David Bowie? And I thought, that’s too perfect; I must use that. Unfortunately, when I checked the interview, I found out that what Harty actually says is, “Are You There, David Bowie?” But I went with it anyway. I already knew that I wanted to replace the audio at the beginning, with the album version. On the original Cher Show audio, the intro is shortened and mostly buried under the canned applause anyway. And I needed footage to go with it, as the original visual from the show is of a spinning medallion of Cher’s name. And it’s enjoyable to me watching Bowie’s silent reaction to the first of Harty’s inane statements - an idiotic reminiscence of the last time Harty had interviewed him for TV in 1973, about an earring Bowie was wearing “in either your left ear, or right ear, I can’t remember”. Russell Harty is often derided for his vacuous questions and condescension in the interview. But it seems a little unfair - Harty had probably assumed that the time with Bowie would be another friendly little chat, like the one he had enjoyed three years prior. He could have in no way anticipated that he would be dealing with a stroppy Thin White Duke. This being the first time that he, or really anyone was fully confronted with the new austere Bowie persona. This version of the Cher Show performance features my own re-EQ’d audio, and is a composite of several versions of the video. For the main, it relies on a recording of the recent GetTV rebroadcast of the Cher Show, Episode 25. This was supplied to me by the dbDigital Archive, for which I am very grateful. Hope you dig it! Do me an' yerself a favor - watch it in the Highest Def available with the sound UP LOUD! If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another huge labour of love, made with love and with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie - Jean Genie - Live 1974 - Excerpt
David Bowie – Jean Genie – Live 1974 - Excerpt
2 years ago
David Bowie - Jean Genie - Live 1974 - Excerpt Jean Genie was originally released as a single, in November 1972. It was later included on the album, Aladdin Sane, which was released in April, 1973. This audio used here is a live version from the Diamond Dogs tour. It was recorded at the Tower, Philadelphia in July 1974, and is included on the 2005 remastered David Live album. Please note: Due to the nature of the footage, I have taken the liberty of butt-jointing together different sections of the track, to try to create an enjoyable and somewhat coherent little video. The footage, is likely from the same series of shows, at the Tower. I have taken the footage from the new BBC David Bowie documentary, The Last Five Years, that screened in the UK last Saturday evening. If you haven’t seen the documentary yet, you really should try to. So the documentary only showed a few brief scenes of Jean Genie, and talking heads mostly obscured the audio. The footage seemed so great to me, and I became very curious to see how it would be, synced to an audio source. Some sections I could recognize, and sync correctly, others I just guessed. It’s just a quickie! This was only intended as a quick video for me, and as a surprise for a friend. Then I noticed today that social media is very enthusiastic and intrigued about the footage, as I was. I don’t usually upload partial songs, but this footage seems too important, so I’ve decided to share. Hope you dig it! Do me an' yerself a favor - watch it in the H’est D available, with the sound UP LOUD! If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another huge labour of love, made with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie - Warszawa- Live 1978
David Bowie – Warszawa– Live 1978
2 years ago
David Bowie - Warszawa- Live 1978 Warszawa was originally a track from David Bowie’s album, "Low", released in 1977, the first of the so-called “Berlin Trilogy”. The audio of this live version from the ’78 tour, is from the 2005 remaster of David Bowie’s 1978 album, “Stage”. Also included is a couple of short sections of Art Decade, also from the 2005 Stage remaster. "Stage" was recorded live at the Philadelphia, Boston and Providence shows, in Spring ’78. The video footage used here, is mostly from the final night of the 1978 tour, in Tokyo on the 12th of December. This is not the original version of Warszawa, from “Low’, so we need not go on about the brilliance of the track. And anyway, as is usually the case, Chris O'Leary has written the last word on it, on his excellent blog, Pushing Ahead of the Dame: bowiesongs.wordpress.com/2011/03/15/warszawa/ But at least I should state that Warszawa was the show opener on the ’78 tour. Bowie chose to commence the show and divide it up with three of his Low / Heroes ambient tracks, interspersing the rockier numbers. Obviously opening with Warsaw was about as far away from a standard 70’s rock show opener as it was possible to get. Then as the set began to heat up, after tearing the roof of with the stomping and abrasive Blackout, he brought things back down again with the funereal Sense of Doubt. Later in the set, after the crowd pleasing Ziggy section, he again slowed the pace right down with the gorgeous Art Decade. One wonders what some of the audience thought about this unusual pacing. Someone who did attend, commented on my Sense of Doubt video that during the opening Warszawa, you could have heard a pin drop. Anyway, here the band make a miraculous recreation of Eno’s multi-layered synth masterpiece. Bowie wisely doesn’t attempt a rendition of the latter parts of the original vocal, passing over that duty to violinist Simon House to make his interpretation instead. Thankfully this section of the Tokyo footage was mostly very well shot and edited. Tho’ it’s a pity they missed the beginning of Bowie’s singing. I tried various ways to recreate that moment, but I could not come up with anything that looked authentic enough to me. Apologies to Simon House, who played his violin solo in a very different ways on the Stage audio and the Tokyo footage - I did the best I could, but creating a perfect match was simply not possible. There are a few other continuity issues on this video, due to unresolvable differences between the two sources, but I wont mention them here, for fear of spoiling your viewing and listening pleasure, dear fellow Bowie fan! Including a bit of Art Decade is for a few reasons. Firstly, it is to make use of the only bit of verified footage that I am aware of, of Art Decade being performed on the tour. It would be good to make a video of the entire track, but there is simply no footage, other than this tiny fragment. And I thought, Well, Art Decade is the next track on Low, after Warsaw. Another reason was just to find any excuse to use the extraordinarily beautiful zoom of Bowie from the short “Reporting Scotland” interview from ’78. I slowed it right down to make the most of it, and a beautiful little soundtrack was needed. But mostly, the main reason is that even though the work of the synching and editing was mostly finished last week, I could not decide on the right beginning or ending. I vacillated between many variations. For the ending, I thought I had settled on using part of the Janet Street Porter interview from ’78. It’s just before he goes on stage, and she asks him, "When you go onstage, you start with a very slow number, what impression are you trying to make on people?" And he answers, 'I've been eating Stilton, do I smell like it?" It's hilarious and a perfect intro in a certain way. But then considering how deep Warsaw is, and the mood of this weekend, it just doesn't feel right. So I scrapped it, and the Art Decade ending felt sorta suitable. Anyway, it seemed important to me to get this very appropriate video out there for this very important Bowie weekend. Hope you dig it! Do me an' yerself a favor - watch it in the Highest Def available with the sound UP LOUD! If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another huge labour of love, made with love and with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie - Crystal Japan - Promo - 1980
David Bowie – Crystal Japan – Promo - 1980
2 years ago
David Bowie - Crystal Japan - Promo - 1980 Crystal Japan was originally released as a single in Japan in February 1980. A year later it was finally released in the UK as the B-side of the Up The Hill Backwards single. In ’92 Ryko included it as a bonus track on their reissue of the album Scary Monsters (And Super Creeps). The footage here is from three of the1980 Japanese TV commercials for Crystal Jun Rock, a Japanese liquor. The ad featured Crystal Japan in the soundtrack. Quoting Chris O’Leary, from his always excellent blog, Pushing Ahead of the Dame: “In early 1980, Bowie did a TV ad for a Japanese shochu manufacturer, Crystal Jun Rock, filming a spot at a Kyoto temple and licensing out an instrumental outtake called “Fuji Moto San” (sometimes incorrectly referred to as “Fuje San Moto”). “The money is a useful thing,” Bowie later said, also noting that he got more airplay via TV ads then he did with radio at the time. Though often referred to as a Scary Monsters outtake, and originally intended to be the album’s closer (a Japanese counterpart to “It’s No Game (No. 1)”), it’s likely that at least some of “Crystal Japan” was recorded prior to those sessions, possibly in Mountain Studios in Switzerland. (It’s established that Bowie filmed the ad in March 1980, in a break between Monsters‘ recording sessions.) “Japan” sounds unlike anything else from Scary Monsters, too-it’s far more in line with earlier ambient pieces like “Moss Garden.” While it made sense to cut it from Scary Monsters, where “Japan” would have been an even more anomalous LP closer than “Secret Life of Arabia,” it’s a shame that “Crystal Japan” has been generally forgotten, as it has some of Bowie’s most gorgeous melodies of the period: the first childlike motif that begins at :25, the subsequent “choral” melody and development that follow it, and the resolution, with a rising-and-falling synthesized bass (almost gong-like), and the tiny three-note patterns that appear before the curtain falls. It’s “Warszawa” in miniature.” bowiesongs.wordpress.com/2011/09/01/crystal-japan/ Another desperate attempt to create something from the Scary Monsters era. But actually, this video had to happen; the material was just begging for it! Erasing the Japanese script was tricky and created a few unresolvable glitches, but overall I think it works quite well. Hope you dig it! Do me an' yerself a favor - watch it in the Highest Def available with the sound UP LOUD! If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another huge labour of love, made with love and with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie - David Bowie is The Elephant Man - Ad / Trailer - 1980
David Bowie – David Bowie is The Elephant Man – Ad / Trailer - 1980
2 years ago
David Bowie - David Bowie is The Elephant Man - Ad / Trailer - 1980 From July 1980 to January 1981, David Bowie played the part of the real-life eighteenth century character John Merick - the Elephant Man. He portrayed Merrick, in Barnard Pomerance's 1977 play The Elephant Man, which was produced by Richmond Crinkley and Nelle Nugent, and directed by Jack Hofsiss. Bowie’s schedule was: - Mid-July - two weeks of rehearsal in San Francisco - July 29 to August 3, 1980 - Denver's Centre of the Performing Arts - August 5 to 31, 1980 - Chicago's Blackstone Theatre - September 1 - Rehearsals began for the Broadway run of The Elephant Man with a new cast - September 23, 1980 to January 3, 1981 - New York's Booth Theater It was Bowie’s first and only theater role, and it was a critical and commercial success. He was widely praised for his part in the play, contorting his body and voice to convey the hideous birth deformities of the unfortunate John Merick. It was an extraordinary decision for Bowie at this stage in his career. Performances were six nights a week, and three additional matinees per week. It seems incredible now that he undertook such a routine for over five months. It would have effectively blocked him from traveling, and performing, promoting his new album or recording music. Working on The Elephant Man - for the crucial 5 months between August ’80 to January ’81, meant that a tour or even planning and rehearsing for one, would have been impossible. By the time his stint in the play had ended, the ideal time to promote the Scary Monsters material had past. At that time, as a young Bowie fan, I was very intrigued by him being in the play. Tho’ being 15 years old and in the UK, there was no chance for me to go to the States see it. I remember Bowie was pictured on the front cover of the NME in September 1980, looking extraordinarily beatific, semi-naked wearing only a loincloth. It was a typically gorgeous monochrome shot by the then NME house photographer, now film director, Anton Corbijn. No less intriguing was the huge feature and interview by Angus MacKinnon: “The audience is soon made aware of Merrick's disabilities by the device of having (Doctor) Treves show a series of slides taken of the Elephant Man when he was first admitted to the London (Hospital). At this point in the play a curtain is pulled back to reveal a spotlit Bowie wearing nothing but a loincloth and standing with his legs apart and arms outstretched. As Treves dispassionately enumerates Merrick's afflictions, so Bowie amplifies the gist of the surgeon's lecture by gradually straining himself into the crumpled stance he will, one short scene excepted, adopt for the remainder of the play. This brief sequence of mime is astonishing enough, but there's better to come.” The excellent David Bowie Golden Years web site, has a nice page about The Elephant Man: www.bowiegoldenyears.com/elephantman.html Unfortunately, no performance was filmed in it’s entirely. Only two complete scenes exist, totaling ten minutes, and several interviews and features on the play were made at the time, most of which are on line in reasonable quality. The idea for this video started out of desperation to see / create something for the Scary Monsters period, and I had toyed with using some of The Elephant Man footage to make a video for the track Scary Monsters. Those experiments proved to be fruitless, but when telling my Bowie mainman SK about them he suggested making a “fake” TV Ad based on the real radio Ad from the era. I added the idea to the ever-burgeoning list of potential Bowie videos. Then when the time came to work in earnest on The Tonight Show material, I decided okay let’s pair it with The Elephant Man Ad. I found a lot of material on The Elephant Man, and completed several fairly satisfactory versions of the fake Ad. The limitations of producing a TV Ad meant that it could not contain any long scenes, or in it’s entirety be longer than a minute. That was a good discipline, but placed restrictions on what was possible. Then the idea came that maybe there should be a documentary made about the play. And so the “fake” Ad has kinda morphed into a hybrid of Ad and Trailer for an imaginary (tho I may end up making it) forthcoming documentary called: “David Bowie is The Elephant Man”. Hope you dig it! If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another huge labour of love, made with love and with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie - Life On Mars & Ashes To Ashes - Live on U.S. TV “Remaster” - 1980
David Bowie – Life On Mars & Ashes To Ashes – Live on U.S. TV “Remaster” - 1980
2 years ago
David Bowie - Life On Mars & Ashes To Ashes - Live on U.S. TV “Remaster” - 1980 Life On Mars was originally released in December 1971, on David Bowie’s “Hunky Dory” album. It was subsequently released as a single, in June 1973, at the height of Ziggy-mania. Ashes To Ashes was originally released as a single, on August 1st, 1980. It was a huge hit in the UK, reaching No.1 on August 19th. It was the first of four singles from David Bowie’s album Scary Monsters (And Super Creeps), which was released on September 12th, 1980. This performance is from The Tonight Show with Johnny Carson. It was recorded at NBC Studios in Burbank, Los Angeles, on September 3rd and broadcast on the 5th of September, 1980, during the three week hiatus in performances of the Elephant Man play. This performance is unique, in several ways. The foremost thing is that it was Bowie’s only live performance of 1980, and only his second (SNL, 1979) since the 1978 tour. And it would be his last until the Serious Moonlight tour, in 1983. Also, the Tonight Show is the first time Bowie had performed Life On Mars in it’s entirety for over six years, having dropped it from the live set on the latter part of the Ziggy tour, in June ’73, despite it being No. 3 in the UK charts at the time. Lastly, it’s the first and only time, Ashes To Ashes was performed live, in it’s day. Performing with Bowie on the Tonight Show, was a one-off new band: Carlos Alomar on keyboards and rhythm guitar G.E. Smith on lead guitar (Hall & Oates) Steve Goulding on drums (The Rumour) John Kumnick on bass Gordon Grody on piano / keyboards It has been rumored that this band was perhaps assembled for a possible 1981 tour. But sadly, The Tonight Show was the their only public performance. The same individuals also appear in the fake concert footage in the German movie Christiane F. and the video for Fashion. The Fashion shoot was in Berlin and was apparently Bowie fairly spontaneously taking advantage of having a semblance of band with him for the Christiana F. shooting). This clip of Bowie is frustratingly good - if only he had toured for the Scary Monsters album! It’s cracking version of “Life On Mars”, (accepting the fact that he doesn’t have the high register of eight years prior) and he’s also in fine voice on “Ashes To Ashes”. Imagine a live set based on the Scary Monsters and Lodger material! And he looks great - very obviously appropriating James Dean in Rebel Without A Cause, wearing a red cotton windbreaker (bamfstyle.com/2015/09/30/rebel-without-a-cause-3-windbreaker/) white t-shirt, blue jeans, a magnificent quiff, and throwing the 50’s moves. It was the same look he employed in the fake concert footage for Christiane F. However, thinking about it, Bowie’s punishing schedule - 9 performances per week of The Elephant Man play - for the crucial 5 months between August ’80 to January ’81, means that a tour or even planning and rehearsing for one, would have been difficult. By the time his stint in the play had ended, the ideal time to promote Scary Monsters had past. At the end of the Tonight Show performance I’ve added a bonus. It is about a minute of Bowie and the band rehearsing Ashes To Ashes for the show. It was used as part of a 1981, Bowie special on the US arts program, the 20-20 Show. Thus the talk-over. I have been keen to create a better version of the Tonight Show performance for some time. I have searched long and hard to get hold of whatever is out there and I found six different versions. Five were partial excerpts, and one was a (poor quality) recording of the complete show - all of which were used in part, to make this video. The truth is, I could not find any really good source. So the quality varies from quite good to crap. At least I managed to un-orange Bowie’s face (and even Carson’s - no mean feat!). Along with the video matrix of the various versions, I also made an audio matrix. All versions only contained a mono recording, all were very compressed; sounding like the limiter had been set to maximum. I did my best to boost and balance the sound, pushing the EQ as far as I dared, and create a bit of a fake-stereo effect, but again it’s very far from A+. So I am afraid that the earth won’t move for you watching this video, but it is hopefully the best version currently on the net. Hope you dig it! Do me an' yerself a favor - watch it in the Highest Def available with the sound UP LOUD! If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another huge labour of love, made with love and with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie - The Last Five Years - Nacho’s Trailer - 2017
David Bowie – The Last Five Years – Nacho’s Trailer - 2017
2 years ago
David Bowie - The Last Five Years - Nacho’s Trailer - 2017 Featuring David Bowie’s song Lazarus, which was released as a single in December, 2015. It was subsequently a track on Bowie’s final album Blackstar, released on the 8th of January, 2016, two days prior to his tragic death. The a capela sections are taken from the official BBC trailer for The Last Five Years documentary. The footage used here is mostly from the widescreen version of the video for Lazarus. Also used was part of the video for Where Are Now? The public scenes are from RUvideos postings of Bowies last public appearance, when he attended the premier of his play Lazarus, in NYC. Also included are some cheeky borrowings from the BBC - I do hope they don’t mind, and about the whole concept. In the unlikely event you don’t know, on January the 7th, in the UK at least, the BBC are premiering another Bowie documentary made by the same team who produced the outstanding 2003 documentary, “Five Years”. This little video came about through my desire to hear the beautiful a cappella sections of Lazarus, that were featured on the BBC’s The Last Five Years Trailer. Where I live, I couldn’t see the trailer, and I noticed that on Bowie blogs and message boards, other people around the world also were unable to watch it. Happily for me, I was sent a copy of the trailer by a Bowie pal. I wanted a cool way to share the vocal, and I decided to try to put it in a better context, with the visual of him singing the words from the Lazarus video. Once I had made the first version, I didn’t know what to do with it. I sent it to a couple of Bowie pals, to get their opinion, asking, Is it okay, is it in dubious taste etc? One of them came up with the great suggestion to turn it into a “fake” BBC trailer for The Last Five Years documentary. Hope you dig it! Do me an' yerself a favor - watch it in the H’est D available, with the sound UP LOUD! If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another huge labour of love, made with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie - Hang On to Yourself - Live 1978
David Bowie – Hang On to Yourself – Live 1978
2 years ago
David Bowie - Hang On to Yourself - Live 1978 Hang On to Yourself is most widely known as a track from David Bowie’s album, "The Rise and Fall of Ziggy Stardust and the Spiders from Mars", recorded in late ’71, and released in June ‘72. The audio of this live version from the ’78 tour is from the 2005 remaster of David Bowie’s 1978 album, “Stage”. "Stage" was recorded live at the Philadelphia, Boston and Providence shows, in Spring ’78. The video footage used here, is from three sources / shows, in ‘78: - Earl’s Court, London June the 30th, and was shown at the conclusion of the LWT David Bowie Special TV show, that was broadcast a week later, on July the 8th. - The final night of the 1978 tour, in Tokyo on the 12th of December. - Dallas, 10th of April. The original version of “Stage” album, tho’ it contained great music, was a mess. The running order was radically altered from the live shows, and between each track the crowd sounds were faded - apparently to make it easier for radio DJ’s to play tracks. Therefore when listening there was no believable concert experience. Happily both of these issues were rectified with the excellent 2005 remaster. The Ghost of Ziggy Stardust Hang On To Yourself was the opening track on the original version of the “Stage” album - perhaps as a nod to the fact that the song usually opened the Ziggy-era shows, in ’72 and ’73. Regardless, in actual fact at the ’78 shows, the “Ziggy…” section opened the second half of the show. Intended I suppose, as some nostalgic respite after the almost wholly new and experimental material of the first half. Also, the “Ziggy…” section actually started with Five Years, and a long drum intro where Bowie would introduce his fine band (video to follow, hopefully). Hang On To Yourself was actually played mid-way through the “Ziggy…” set. Anyway, it’s a great live version of Hang On To Yourself, in my opinion. The Bolan-esque whispery vocals of the studio version are a distant memory, as Bowie works the song into a high adrenaline rocker! Check it out from around 2:50 (on this video): Adrian Belew pushes Mick Ronson's original slide guitar up an octave (correct me if that’s incorrect musical terminology) and plays it over and over, Sean Mayes starts hammering out old time Rock n’ roll piano riffs, the strip lights start flashing manically, and Bowie bounces up and down belting out “Come on! Come on yeah! Come on!” No wonder the Earls Court crowd are pogoing to it. I suppose back in London in the summer of ’78, Punk was still de rigueur. And let’s not forget, the Sex Pistols had reappropriated the riff from Hang On To Yourself for God Save The Queen. The main reason for wanting to produce this video was to utilize the nice Earls Court footage, featuring Bowie’s joyful bounce throughout, some good shots of his awesome white baggies, and the gorgeous aquamarine light at the end, as he twirls in apparent delight at the performance. As I’ve written before, the Earls Court shows have a particular nostalgia for me. David Bowie at Earls Court, 1978 is the show that I wish I had been able to attend. It goes without saying that Bowie was at the absolute peak of his powers during this period, and in the summer of 1978, I lived in London, and was already a Bowie fan. However, I was only 11 years old. I don’t remember if I was aware of the tour at the time, but regardless there would have been no way my parents would have allowed me to go. I do remember seeing at least part of the LWT Bowie Special TV program. Tho I don’t know how I could have seen it when it was first broadcast because my parents were not high-brow types; they would not have been interested in watching an alternative arts show. And moreover I have a vague recall that my Dad was irritated by the presenter of the show, Janet Street-Porter. Sincere apologies to Alan Yentob for the inference that he worked for Independent Television, whereas in fact he was a creative stalwart of the BBC since the 60’s, and someone I greatly admire. Hope you dig it the vid! Do me an' yerself a favor - watch it in the Highest Def available with the sound UP LOUD! If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another huge labour of love, made with love and with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie - Life On Mars - Live 1976
David Bowie – Life On Mars – Live 1976
2 years ago
David Bowie - Life On Mars - Live 1976 Life On Mars was originally released in December 1971, on David Bowie’s “Hunky Dory” album. It was subsequently released as a single, in June 1973, at the height of Ziggy-mania. This live audio was recorded at the Nassau Coliseum, New York on the 23rd March 1976. It is available on Live Nassau Coliseum ‘76 - part of the Station To Station reissue box set, released in 2010. Perhaps Bowie tired of singing Life On Mars; he dropped it from the set on the latter part of the Ziggy tour, in June ’73, despite it being No. 3 in the UK charts at the time. It didn’t feature at all on the ’74 Diamond Dogs tour. It reappeared in the set, on the Station To Station tour in ’76. However, it was in a truncated form; at just about two minutes long, only the first half of the song was performed, and after the mid-song guitar break, the band segued into Five Years. Moreover, the performance of Life On Mars on the ’76 shows seem rather cursory to me. Did Bowie regard it as merely a warm up for Five Years? Whereas, he performed awesome versions of Five Years during that period - check out the mesmerizing performance of it on the Dinah! Show: ruvideos.org/qWM9R-mcgzE-video.html. Bowie didn’t perform Life On Mars on the entire ’78 tour, and we don’t hear him sing it again until the excellent one-off performance on the Tonight Show, in 1980. This video: Because there is simply no decent quality video material available from the ’76 tour, of a complete song, anything we can get is valuable, was my rationale. So basically, this video is a rather desperate attempt to use the one-minute of not-that-great footage from the last show of the tour, in Paris. And to make up for the gaps in the Paris footage, I’ve thrown in a little from the Vancouver rehearsals, and Phillipe Bergeron’s Montreal Forum footage (ruvideos.org/XAj2iX9xqCo-video.html). Therefore, dear viewer, be warned: the performance of the song on the ’76 tour, it’s length, the quality of the footage available, and this video are indeed, all rather small affairs. Caveats aside… Hope you dig it! Do me an' yerself a favor - watch it in the H’est D available, with the sound UP LOUD! If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another huge labour of love, made with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie - Sense Of Doubt - Live 1978
David Bowie – Sense Of Doubt - Live 1978
2 years ago
David Bowie - Sense Of Doubt - Live 1978 Sense Of Doubt was originally a track from David Bowie's 1977 album, “Heroes”. And then a live version was subsequently on the 1978 album, "Stage". The audio of Sense Of Doubt used here is from the 2005 remaster of “Stage”. "Stage" was recorded live at the Philadelphia, Boston and Providence shows, in Spring 1978. Also included on this video is a excerpt from Neuköln, a track from David Bowie’s 1977 album, “Heroes”. The footage we see is from the show at Dallas Convention Centre, in Texas, on the 10th of April, 1978. The show was shot by RCA as a promotional film for "Stage". Thankfully the 21 minute film survived in great quality, and is easily the best record we have of the ’78 tour. This video was originally planned as an extra track to be included on the end of the Blackout - Live 1978 video, that I uploaded yesterday. However, I also wanted to include another music and interview excerpt at the end, so then the thing became too long, uneven, unwieldy. Also, when I’m searching for music videos on the net, I usually prefer stand-alone songs. During the ’78 tour, Sense of Doubt was the next track in the set, and both are from the “Heroes” album. In it’s own right, this is not a tremendously exciting video. Please just consider it a companion video to Blackout - Live 1978. I didn’t change anything in the Dallas footage, just matched the audio from “Stage” note for note. Looking at the footage, one wonders - were the audience members really jumping up and down and cheering during Sense Of Doubt? It seems unlikely to me. Perhaps, some of the footage is random B-roll that the original filmmakers threw in due to a shortage of actual Sense Of Doubt footage, or to try make things a bit more exciting? Also included on this video is part of Alan Yentob’s 1978 feature on Bowie that he made for the BBC 2's Arena Rock program. The show was recorded, during the tour on the 16th of May 1978 in Berlin. I have included the section that features Neuköln - another of the dark “ambient” Bowie/Eno instrumental tracks from the “Heroes” album - and scenes shot around contemporary Berlin by Yentob’s crew. It’s nicely done and appropriate because Neukölln (correctly spelled with a double "L") is a district of Berlin. And of course Berlin was Bowie’s home, at the time. I have replaced the rather scratchy Neuköln audio from the show, with a clean high quality version. Hope you dig it! Do me an' yerself a favor - watch it in the H’est D available, with the sound UP LOUD! If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another huge labour of love, made with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie - Blackout - Live 1978
David Bowie - Blackout - Live 1978
2 years ago
David Bowie - Blackout - Live 1978 Blackout was originally a track from David Bowie's 1977 album, “Heroes”. And then a live version was subsequently on the 1978 album, "Stage". The audio used here is from the 2005 remaster of “Stage”. "Stage" was recorded live at the Philadelphia, Boston and Providence shows, in Spring 1978. Listening closely to an audience recording of Blackout, from the Philadelphia show on the 28th of April, it seems likely that the version of Blackout on Stage was recorded at that show. The footage we see is from the show at Dallas Convention Centre, in Texas, on the 10th of April, 1978. The show was shot by RCA as a promotional film for "Stage". Thankfully the 21 minute film survived in great quality, and is easily the best record we have of the ’78 tour. “Time again to praise Dennis Davis”, is how Chris O’Leary starts the essay on Blackout, featured on his excellent blog, Pushing Ahead of the Dame. “..Davis sounds like a percussive orchestra, or his fills seem a painstaking series of drum overdubs. But it’s just him, most of his drumming cut live, like the series of crazy fills Davis does twice on “Blackout” (cued by Bowie’s “get me to the doctor!” at 1:01 and 2:02), where he spins like the second hand of a clock, moving from toms to congas back to toms. There’s the little fills Davis throws in throughout, as if providing regular infusions of oxygen, or his move to what sounds like cowbell on the “get me off the streets” verse. And during it all Davis keeps perfect time. A human jazz metronome, Visconti later called him: playing flawlessly, yet never the same way twice. Chris concludes the essay with, “The version from Philadelphia, May 1978, collected on Stage, is arguably the definitive version of the song: Bowie’s vocal is tremendous and Davis sounds like a monster’. bowiesongs.wordpress.com/2011/04/26/blackout/ Chris is not wrong, on both counts. Davis’ drumming is always thrilling, and Blackout is perhaps his pièce de résistance. On both the studio version on “Heroes” and this live version, his drumming is breathtaking. To me, Blackout is very high art. Bowie was simply at the peak of his creativity at this point. And this track is one of the finest that he created during the so-called Berlin-era. Blackout exists in a special rarefied air, and somehow manages to be abrasive, bleak, funky, romantic, sinister and joyful all at the same time. I’ve been listening to it for almost 40 years, and it still knocks me out. Surely this track was a huge influence on some off the New Wave bands that sprung up in the late 70’s and early 80’s. Listen to Echo & the Bunnymen’s dark, sophisticated 1981 masterpiece, "Heaven Up Here". The elements are all here - the bleak atmosphere, angular guitars, funky basslines, pounding drums, obscure lyrics, controlled off-key singing. One is always limited in what is possible re-purposing footage onto another audio source. Songs are never played the same way twice, and on this track Bowie, Davis and guitarist Adrian Belew are particularly wayward. As has been mentioned, Davis didn’t play the same way twice. Bowie ad libs very differently on the two versions and swaps emphasis and even lyrics around quite frequently. And special mention must go to Adrian Belew, who more or less plays crazed guitar solos throughout, and was therefore very hard to create believable syncs with the footage. There will be a companion video to this soon, Sense Of Doubt - Live 1978. During the ’78 tour, Sense of Doubt was the next track in the set, both are from the “Heroes” album. I tried making a 2-for-1 video with both tracks, but with the ending I have planned for Sense Of Doubt, the video seemed too unwieldy and uneven. Finally, I am grateful to the person who requested last week that I make this video. It was on my Bowie video To-Do list anyway, but I was inspired to move it to the top of the queue. Hope you dig it! Do me an' yerself a favor - watch it in the H’est D available, with the sound UP LOUD! If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another huge labour of love, made with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie - "Heroes" - French TV “Remaster” - 1977
David Bowie - "Heroes" - French TV “Remaster” - 1977
3 years ago
David Bowie - "Heroes" - French TV “Remaster” - 1977 “Heroes” was originally released as a single in September 1977 and was then subsequently a track on David Bowie’s “Heroes” album, released in October 1977. The “Heroes” material was remarkably quickly recorded (usually in one take) and mixed in August 1977. Then the album and the single were released equally swiftly, in September and October respectively. During those two months, Bowie undertook a short promotional tour, recording TV shows, where he performed “Heroes”. During the same period, Bowie also shot the Stanley Dorfman directed, “Heroes” video. The recordings were: UK - The Marc Show - September 7th UK - Bing Crosby's Merrie Olde Christmas TV Special - September 11th UK “Heroes” video shoot - September 25th Italy - Odeon - October 1st Holland - TopPop - October 14th France - Le Rendez-Vous Du Dimanche - October 16th UK - Top of the Pops - October 19th These performances are interesting because they are the first time Bowie had appeared solo almost anywhere since the 1976 Station to Station tour. And they are interesting because the "Heroes" material was so fresh, having been recorded just a month or so prior. Le Rendez-Vous Du Dimanche - October 16th Like the Dutch appearance, here Bowie is singing live - and what a remarkable vocal performance it is! I confess, I had previously not paid much attention to the French show before, because the sound quality on the existing video online is so poor. For a start, it’s playing at about 10% too slow, and therefore sounds very flat. Also, the music is very low in the overall mix, with Bowie’s vocal dominating. Another issue is that the audio is slightly out of sync with the video. But the main thing is that the audio is just so damn quiet, as to be almost inaudible. I think the reason for this is that when Bowie lets rip with his vocal, the levels literally go right off the meter. Therefore perhaps the French engineers simply turned down the entire track, so as to contain the very loud peak moments. Listen to him at around 2:00; his “Iiiiiiiiiiiiiiiiiii-yah! (I can remember)”, is incredible! On the original audio, it is literally twice as loud as the rest of the song, and jumps way into the red, into distortion. I don’t know what audio processing equipment they had in those days, but now it’s relatively easy to make improvements, by adding some judicious EQ, and in this case some compression to even-out the sound levels, without killing the vibe. Also, I have extended the beginning of the video. On the original, the hosts of the show are seen and heard, talking over the beginning of the track, just before Bowie starts to sing. So I have mixed in the 7” version of the track to replace what was there in the original. I had to modify the 7” audio to make it a believable match - I turned it into mono (the recording of the show is in mono), and downgraded the sound with filters, to try to make a match, with only partial success, as you will be surely be able to hear. I also extended the beginning of the footage, so that we only get Bowie and no babbling Frenchmen! - and I bet you can’t find the join?! One more thing - In the performance, we don’t really get to fully take in the magnificent calf-length mountain boots Bowie is wearing! So at the end of my video, I have grafted on the start of the interview with the host, Michel Drucker, that was on the original TV broadcast. Here the boots can be clearly seen! Bowie is greeted by Michel Drucker, he sits down and crosses, and then re-crosses his legs, showing off the boots. Bowie: (imitating the sound of camera shutters) Chick! Chick! Chick! Chick! Chick! Michel Drucker: It’s your life? Bowie: (Taking in just how many photographers there are, apparently for the first time) Ooh, wow! Michel Drucker Everyday; it’s your life? Bowie: This? No, no, no. It’s a pretty nice interview too. You can find the full thing here: ruvideos.org/ESM0bOaJJPk-video.html Hope you dig it! More “Heroes” videos to follow! Do me an' yerself a favor - watch it in the H’est D available, with the sound UP LOUD! If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another huge labour of love, made with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie - Space Oddity - Live 1974
David Bowie – Space Oddity – Live 1974
3 years ago
Space Oddity was originally recorded on the 20th of June 1969, and released, less than 3 weeks later (those were the days!) in early July of that year. It was included on Bowie’s 2nd album, called David Bowie, in the UK and, Man of Words/Man of Music, in the US. Later, it was reissued in 1972, with the familiar Ziggy-era look of Mick Rock’s video and accompanying cover photo as, Space Oddity. Space Oddity was reissued as a single several times in the 70’s and was in and out of the charts and radio play-lists, throughout the decade. Like a lot of my generation, it was the first Bowie song I became aware of as a youngster. When I went looking for a Bowie record that contained Space Oddity - there it was - lead track on ChangesOne. And the rest of course is (my Bowie) history. Space Oddity was performed on the 1974 Diamond Dogs tour. It was included in the set because Bowie was keen to break America and this was a song people knew, unlike the fairly new ‘Dogs material. He performed the song above the audience, in a chair mounted on the moving hydraulic arm of a cherry picker. The cherry picker emerged from a pair of doors atop one of the “Hunger City” towers (the one with the phallus) and went out over the first six rows of the audience. It is likely people heard the familiar "Ground Control to Major Tom" opening line, before they realized where Bowie was. As the song came to an end, the chair would return to its position and the final note would see Bowie feign death with his head slumped, before the stage was plunged into darkness. The audio used here is from the Tower, Philadelphia in July 1974, and is included on the 2005 remastered David Live album. Like most of the songs on the tour, once one gets used to the soulful and jazzy rearrangements, there is so much to enjoy in the performance, with great playing by the band, and a fantastic vocal by Bowie. I sent a preview of this video to Mike Garson. Mike was keyboard player on this and many recordings and performances, throughout Bowie's career. Mike is a super cool guy, and has been very supportive of my Bowie video's. He was good enough to respond: “Over the last year I've gotten to know the video editing work of a great Bowie fan who goes by the name of Nacho. He's shared with me this great edit of this live performance from back in 1974. I was so excited to add piano to this version as the original had none. I also got to play mellotron which was a special instrument that the Beatles also used. It's very emotional to see this. David was so loved by his fans and still is - in a very deep way, unlike many other great icons. Please enjoy…” The footage used here, is from the Universal Ampitheater, Los Angeles, on September the 5th, 1974. It comes from Alan Yentob’s excellent 1974 BBC documentary on Bowie, Cracked Actor. Evidently, Yentob really knew what he was doing and for the most part Cracked Actor has really stood the test of time. The original 1969 audio was dubbed over the Space Oddity footage. And there is the use of, what seems now, dated-looking “special effects” of superimposed flying-through-the-air footage. Was it an attempt, by the BBC editors of the day, to make up for what may have seemed to them, the fairly ludicrous spectacle of a distant and wasted looking man, apparently talking into a large red telephone receiver, sat in a plastic chair, mounted on a hydraulic arm, hoisted above the from rows of the audience? And was the audio redubbed because on the performance of Space Oddity the vocals sound flat and tinny? This may be due to the limitations of the radio mic, hidden in the telephone receiver that Bowie sang into. But also, to me his singing on the L.A. version also sounds rather cursory and disinterested. So one could speculate if after two months of performing the show, he was by now becoming bored of sitting in this tin-can, far above the audience, singing this old material, and would perhaps rather be back on stage moving to the newer stuff? Anyway, like those BBC editors over 40 years ago, I’ve tried to squeeze the most out of the material. I’ve embellished it with other moments from the Cracked Actor footage - mostly utilizing enthusiastic spaced-out, young audience members, gazing up adoringly at our somewhat lost and aloof looking Major Tom. Hope you dig it! Thanks to SK for the video, and to Chris @ www.theyoungamerican.co.uk for historical info. Do me an' yerself a favor - watch it in the H’est D available, with the sound UP LOUD! If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another huge labour of love, made with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie - Young Americans - Remastered U.S. TV Ad - 1975
David Bowie – Young Americans – Remastered U.S. TV Ad – 1975
3 years ago
David Bowie - Young Americans - Remastered U.S. TV Ad - 1975 By popular request… The U.S. TV advert for David Bowie’s 1975 masterpiece, “Young Americans”, featuring gorgeous footage of Bowie, perhaps at his most thin? Anyone know anything about the filming of this? And more importantly, does anyone have a full length version?? For your viewing and listening pleasure, I’ve removed some snaps, crackles and pops, and synched a new audio track. Hope you dig it! Do me an' yerself a favor - watch it in the Highest Def available with the sound UP LOUD! If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another huge labour of love, made with love and with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie - Who Can I Be Now? (1974 - 1976) - Nacho’s Promo Video
David Bowie - Who Can I Be Now? (1974 – 1976) – Nacho’s Promo Video
3 years ago
David Bowie - Who Can I Be Now? (1974 - 1976) - Nacho’s Promo Video I don’t have enough time at the moment to make any new Bowie videos, so here’s a quick fun project to ease my itchy editing fingers. This video is an attempt to produce a promo video for “Who Can I Be Now? (1974 - 1976)” - the new David Bowie box set, that is out this weekend - that is a bit more satisfying than the rather underwhelming official one ;) In addition, this is an unsubtle shot at trying get noticed by BowieCorp! Finally, this video is a little celebration of some imminent milestones in my short Bowie video making career: - My first proper Bowie video, “Right”, nears 100,000 Views - My page now has close to 1,500 Subscribers and is approaching half a million Views. Since commencing this strangely satisfying obsession earlier this year, many unexpected things have happened… - Bowie band members, including Carlos Alomar and Mike Garson, have featured my videos on their sites -The “Right” video was shown on major cinema screens in London and throughout the UK, as part of Adam Buxton’s Bowie video celebration - My videos have been featured on large media sites, Like Dangerous Minds - The BBC have asked me for Bowie video advice I would like to take this opportunity to say a BIG THANK YOU to all the Bowie fans who have enthusiastically supported my work. And to those that have offered suggestions, advice and even material for me to work with. And I would like to especially thank my Bowie Mainman, Steve, who has helped me out innumerable times. And who’s great idea it was to produce this little video. Hope you dig it! www.parlophone.co.uk/ www.davidbowie.com Do me an' yerself a favor - watch it in the Highest Def available with the sound UP LOUD! If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another huge labour of love, made with love and with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie - Station To Station - Live 1978
David Bowie – Station To Station – Live 1978
3 years ago
David Bowie - Station To Station - Live 1978 Station To Station was originally the opening track from David Bowie’s album, "Station To Station", released in January 1976. The audio of this live version from the ’78 tour, is from the 2005 remaster of David Bowie’s 1978 album, “Stage”. "Stage" was recorded live at the Philadelphia, Boston and Providence shows, in Spring ’78. Listening to an audience recording of Station To Station, from the Philadelphia show on the 28th of April, it sounds remarkably similar to the version we hear on "Stage'. Albeit the "Stage" version had been edited, shortened in length by around two minutes, and quite possibly overdubbed to some extent. “From a mammoth synth train reproduction to the young Adrian Belew staking his claim as the song’s definitive guitarist to a Bowie vocal that’s all sinew, it’s arguably the song’s finest performance. The band uses the key change as a signal to rocket off: there’s an intense communal joy to this music, and even Bowie gets carried away by it." From the Pushing Ahead of the Dame "Station To Station" essay @ bowiesongs.wordpress.com/…/12/23/station-to-station/ The video footage used here, is from the final night of the 1978 tour, in Tokyo on the 12th of December. It is the only known complete footage of Station to Station from the ’78 tour. The version of Station to Station we hear on that Tokyo footage, is in my opinion, not really good. Whilst the quality of recording is pretty high, the sound mix and moreover the performance is just not great, including Bowie’s vocal not being one of his best, and Adrian Belew’s wild guitar explorations veering perhaps a bit too wildly off course. Station to Station from "Stage" has been one of my favourite Bowie moments since I first heard the album, when I was around 12 years old. I would sit in my room, at my parents house, with the volume up as high as I was allowed, with the crazy disco lights my Dad had bought me, flashing away wildly to the train noises, and George Murray’s and Dennis Davies thrilling deep bass notes, and drums build up… So anyway, a video was required, I decided. And, being the eternal optimist, and despite the fact that every video I make seems to take an eternity in maddening minuscule details, I imagined, “Ah! This will be a nice quickie” - after all, how difficult can it be to match two live versions of the same song, from the same tour? I won’t bore you with too many specifics of the last two weeks of frustrations, or shock you with some of the bleary eyed, late night expletives hurled at the computer! But I will briefly share some of the difficulties in the making of this video. A huge problem was that the version of Station to Station on "Stage" has been heavily edited, shaving off around 2 minutes, throughout the song from the original. Whole sections are gone, parts of verses, the guitar break much reduced, the intro heavily edited etc. What’s more, the Tokyo version was very much longer - in excess of 13 minutes long. So that gave me a lot of continuity problems. As always, needless to say, Mr. Bowie changes lyrics, and emphasis throughout, creating huge difficulties. And lastly, the other big hassle was matching the improvised guitar squealings by that other wild card in the pack on the ’78 tour, Mr. Adrian Belew! Anyway, it did eventually come together in a fairly satisfactory way, I think. Hope you dig it! Do me an' yerself a favor - watch it in the Highest Def available with the sound UP LOUD! If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another huge labour of love, made with love and with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie - Sweet Thing-Candidate-Sweet Thing (Repr.) - Live at the Universal Amphitheatre - 1974
David Bowie – Sweet Thing-Candidate-Sweet Thing (Repr.) - Live at the Universal Amphitheatre - 1974
3 years ago
The Sweet Thing / Candidate / Sweet Thing (Reprise) suite was originally from David Bowie's 1974 album, Diamond Dogs. It was subsequently performed on the 1974 tour, and was included on the David Live album. As Chris O’Leary states at the beginning of his excellent essay on the subject, the suite is “The rotten heart of Diamond Dogs; a triptych where prostitutes are the only lovers left, where street hustlers double as politicians.” bowiesongs.wordpress.com/2010/09/23/sweet-thing-candidate-sweet-thing-reprise/ Many agree that the studio version of the Sweet Thing suite, from Diamond Dogs, is one of the finest things Bowie ever produced. Chris’s essay is really the last word on this musical masterpiece, so I’ll spare you my artless list of superlatives. However, I do feel inclined to say that Diamond Dogs was the first Bowie album I truly loved, from when I first became a fan, at about 12 years old. And the Sweet Thing suite was even then for me the obvious standout. Musically it appeared to me then, as now, something truly outstanding. And in my opinion it must contain one of Bowie finest vocal performances. So then we get to the live performances. David Live was a disappointment to me, principally because I thought the versions of the Diamond Dog material did not match up the originals. But I got over that, and began to enjoy the ’74 live material judged on its own terms. And so it is with this live version from L.A., that thankfully we have, in decent quality, due to the BBC who recorded and presumably mixed it. Making this edit, I’ve listened to this performance for many hours, and I’ve grown to love it. The playing is great, by all concerned. Particular mention must go to Mike Garson, who’s piano leads the way. His playing is beautiful here, grandiose in places, but equally nicely retrained elsewhere. It’s jazzy, but also solidly rocking out. I’m guessing Bowie knew he could never scale the vocal heights of the studio version, so he wisely limits himself. But within those limits he really excels, I think. Listen to the touching way he sings, at 2:45 “I'm in your way, and I'll steal every moment, yeah”. Compared to the studio version, the Candidate section takes much longer to start stomping it’s feet. But once it gets going, it’s great. And the finale of Candidate is electrifying, As I wrote in the notes for “Cracked Actor - Live ‘74”, the video footage is (apart from Earl Slick’s guitar solo) is from the wonderful 1974 Alan Yentob BBC documentary, Cracked Actor. The in-concert material it contains is really well filmed, as one would expect from the BBC. Unfortunately, however it contains no complete song. Therefore some imagination and technology was required. As I began the job of trying to reconstruct the suite in it’s entirety, despite there only being about half of it featured on the “Cracked Actor” documentary, I quickly came to realize the brilliance of Yentob’s idea of using the scenes of Bowie in the limo, cruising the streets at night. Merely the footage of Bowie high-up, on a fairly distant stage scaffolding, is perhaps not that interesting. Therefore interspersing it with those limo / street scenes, that are so evocative of the feel and the lyrics, was a great move. And so I just expanded on that idea. And as I worked, something occurred to me. There is I think a big similarly in the footage and the vibe of Yentob’s Sweet Thing sequence, to Martin Scorsese’s 1976 movie, Taxi Driver: A paranoid drug addict, driving around seedy looking neon-lit streets at night, distanced / aloof / alone. And furthermore, the jazz of Mike Garson and David Sanborn’s playing is similar to Bernard Herman’s score and Tom Scott’s sax playing on the Taxi Driver soundtrack. Interestingly, Yentob’s Cracked Actor, predates Taxi Driver by at least a year and a half. Which leads one to wonder - was Scorcese influenced by Cracked Actor? After all, another famous underground movie director of the day, Nicolas Roeg saw Cracked Actor. We know that because he says that after watching it, he knew immediately that he had found his alien, to star in The Man Who Fell To Earth. So anyway, I hope you will forgive me for indulging myself in making this video a kinda mini homage to Taxi Driver? I do hope, those lovely people at the BBC will look kindly on this video, and my humble efforts with their fine material, and allow this video to remain published here on my RUvideos channel. Hope they, and you dig it! Do me an' yerself a favor - watch it in HD with the sound UP LOUD! If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another huge labour of love, made with love and with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie - My Death (original complete version) - Live at the Hammersmith Odeon -  03/07/1973
David Bowie - My Death (original complete version) - Live at the Hammersmith Odeon - 03/07/1973
3 years ago
David Bowie - My Death (original complete version) - Live at the Hammersmith Odeon - 03/07/1973 This recording of David Bowie performing Jacques Brel’s My Death, features on the album ‘Ziggy Stardust And The Spiders From Mars (The Motion Picture Soundtrack)'. Bowie used My Death as a dramatic way to end the first half of his show. On this performance, he doesn’t get to finish the song. In the last line, “…behind the door, there is… “, before he can add “you”, his fans start screaming, “Me! Me! Me!” Although the material was recorded in 1973, the movie and the album were not released until 1983. The release surprised many fans because it was in places, quite radically different to the widely circulated bootlegs of the show, that had been around for a decade. Songs were omitted, and there were many overdubs, in some cases rendering tracks almost unrecognizable to the originals. This edit tries to restore all the original components of the My Death performance together for the first time. - Here we have the an extra minute and a half of the complete intro, where Bowie, impatient with all the hysterical screaming, tells the audience to “Be quiet!” - It also runs up to the end of the first half of the show, with the audience being told that it’s time for the interval. - It features the original audio, recorded live at the desk by the sound engineer on the night, Robin Mayhew, without overdubs or studio production. Robin Mayhew, Bowie’s sound engineer throughout the Ziggy period, has been kind enough to allow the use of his recording on this video, and on future planned videos from the show. The complete show is available to buy, on Robin’s website, at: www.robinmayhew.co.uk/pages/rmshop.htm Along with other recordings, including Robins own recent album. He writes: I joined Bowie in late 1971 as his sound man and was responsible for sound¬engineering all of his Ziggy Stardust acclaimed concert performances around the world, between 29th January 1972 and 3rd July 1973. I must credit Bowie for musically opening my eyes and influencing my life with his innovation and originality. We worked very closely before and while touring together for 18 months, during which we developed a close working and personal relationship. This was an exciting, rewarding and formative period in my life that has been a source of inspiration ever since. David didn't break rules, he wrote new ones. His intelligence, creativity, innovation and courage effected a huge change in popular culture ¬¬ change that endures to this very day. Robin has also published his autobiography, “Ambition”, which includes the time he spent working with David Bowie along with all other life adventures. “Robin's book Ambition includes a section devoted to his time working with David from his first meeting till this last Ziggy Stardust show at Hammersmith. Here is how that period starts - The band he was working with had done a short opening set before David peformed some of his new material to a few record company executives at a private presentation - and how Robin got the job of soundman for the entire Ziggy Project. It was all a bit embarrassing and when they finished we started to move our gear out and escape. There was a tap on my shoulder and I turned to find David's wife Angie smiling at me. She said that David would like to talk with me and could I spare a few minutes with them. I OK'd it with the others and went to join the group who were sitting alone with Defries chatting with the record company people a few tables away. I sat down and David asked my name so I introduced myself and shook hands. He looked at me and simply asked - “How come I could hear every word your singer sang with all that volume and power coming off the stage?” I explained about the way I had got the band to keep the amplifier line low, stage volume down and let the unique Turner PA system present the mixed sound to the audience. At last the tour started and again I have to say that during the next 521 days I was to see David living his 'ambition' and achieving his goal.” www.robinmayhew.co.uk/pages/ambitionbook.htm Hopefully, time and patience allowing, this is the first of more restored videos from the show. Hope you dig it! Do me an' yerself a favor - watch it in HD with the sound UP LOUD! If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another huge labour of love, made with love and with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie - Cracked Actor - Live at the Universal Amphitheatre - 09/05/1974
David Bowie - Cracked Actor - Live at the Universal Amphitheatre - 09/05/1974
3 years ago
David Bowie - Cracked Actor - Live at the Universal Amphitheatre - 09/05/1974 Cracked Actor was originally a song from David Bowie's 1973 album, Aladdin Sane. It was subsequently performed on the 1974 Diamond Dogs tour, and was included on the David Live album. Like most of the older material played on that tour, Cracked Actor was rearranged to suit Bowie's new "Soul Man" direction. Some of the rearrangements fared better than others, in my opinion. In the case of Cracked Actor, I love what they did with it, especially when the performance aspect is seen. "For the 1974 Diamond Dogs tour Bowie removed “Cracked Actor” from its back-room origins and staged it entirely within an actor’s fevered mind: he wore a cape and sunglasses and sang to a skull in his hand, a la Hamlet, then French-kissed the skull... A curse on Los Angeles, “Cracked Actor” would rebound on Bowie: it became the title of a 1974 documentary chronicling Bowie living in LA at his lowest state, reduced to a jittery husk of a human being." - Chris O’Leary, from his superb blog, Pushing Ahead of the Dame bowiesongs.wordpress.com/?s=Cracked+actor I have been asked many times to create some videos for Bowie's '74 tour. There is very little material available, but I have gathered all the footage that's out there, I think. Among the Super 8 stuff there are some possibilities, tho' a lot of labor will be required. In the meantime, I've taken the obvious easy road of first working on the footage from the wonderful 1974 Alan Yentob BBC documentary, Cracked Actor. The in concert materiel it contains is really well filmed, as one would expect from the BBC. Unfortunately, however it contains no complete song. Therefore some imagination and technology is required. Here, I am more or less retreading what others have tried before, but not at this quality. I do hope, those lovely people at the BBC will look kindly on this video, and my humble efforts with their fine material, and allow this video to remain published here on my RUvideos channel. Hope they, and you dig it! Do me an' yerself a favor - watch it in HD with the sound UP LOUD! ------------------------ Posting today, the 10th of July, 2016 - the 6 months anniversary of Bowie's death. ------------------------ If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another huge labour of love, made with love and with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie - Station To Station - Live 1976
David Bowie – Station To Station – Live 1976
3 years ago
David Bowie - Station To Station - Live 1976 Station To Station was originally the opening track from David Bowie’s album, Station To Station, released in January 1976. The incredible live version, used as the audio on this video was recorded at the Nassau Coliseum, New York on the 23rd March 1976, and is taken from the Station To Station reissue box set, released in 2010. On Bowie's 1976 “Isolar” tour, before the band took the stage, there was a screening of “Un Chien Andalou”, the 1929 silent surrealist short film. And then, the opening track of the show was Station To Station. “It all became real when I sat on the stage watching them all file into the venue. We'd sound checked at 3ish and Buford Jones had the house audio dialled in. We were confident and well-rehearsed. It was this 21-year-old’s second time performing in front of tens of thousands of people and I could barely wait for the Dali film to end, and for me to fire up the Marshalls and get the show started, with my feedback/intro to Station to Station. For the first minute or so, standing there solo doin’ my thang, my knees would have been shaking…” - Stacy Heydon I first came across the footage that Phillipe Bergeron shot himself 40 years ago, via the 60 seconds that he had posted, on January the 11th this year, the day after Bowie died, ruvideos.org/zROeYmZIO9Q-video.html Around that time I had been scouring the web, for material to flesh out my TVC-15 video: ruvideos.org/LwbYzg12H94-video.html. There is virtually no decent footage available from the ’76 tour. According to legend, a French TV station shot five songs at the final Paris show. A few minutes of that footage was shown on French TV, and featured fragments of three songs. And those fragments make up most of my TVC-15 video. According to the same legend, unfortunately, the reels of the five songs were misplaced when the TV station moved their archive, and they remain lost. Philippe’s one minute of footage was only Super 8, but it was very well shot, and unlike anything I’d seen before. So I immediately contacted him, basically asking, “Is there more than 60 seconds, and can I have it please?” Eventually, we talked on the phone a bit, and Philippe agreed to let me have his footage for my use. What came exceeded all expectations. It was beautiful material - close ups, long shots, pans and zooms and, unusually, plenty of band shots, from at least 5 totally different locations in the venue. The footage astonished me, I could hardly believe what I was seeing. However, it was silent, and moreover, there was no complete song, or even lengthy take. Just very short scenes, mostly less than 10 seconds, sometimes only 2 or 3 seconds, filmed throughout the entire show. The detective work began to ascertain what songs were being performed to decide out what the best use of the footage would be. Breaking the reel down into its separate components meant I then had well over 50 mini scenes. Anyway, to cut a very long story short, among the other songs I did eventually identify, there was - crucially - several verifiable fragments of Station To Station. Although these Station To Station fragments only totaled less than a minute, an idea began to predominate: to re-purpose the entire footage, use every scene, avoid dipping into any other source, and synch it to the Nassau live version, and try to create the video that we have here. I managed to use almost every second of Philippe’s footage. Where I have used a verified Station To Station scene, in its correct place, I have left it naked. In other places, the long cross fades, the superimposing, and other effects are devices to distract us from noticing that Bowie is not in fact singing the correct line, or indeed even the correct song. So, with that in mind, it would perhaps be best if you don’t pay too close attention to Bowie’s lips and the players hands! I don’t know how many millions of digital manipulations I’ve made to produce this thing, but certainly more could be done to improve it. There are some compromises in this video that I am not content with, but after in excess of 200 hours of obsessive and often frustrating work, including stretches of profound desperation when there were many minutes of blank void to fill, and no material or imagination to fill them, I’ve decided that this will have to do. So, after forty years, finally here is, The return of the thin white duke. Hope you dig it! Do me an' yerself a favor - watch it in HD with the sound UP LOUD! If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another huge labour of love, made with love and with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie - "Heroes" - Italian TV Re-edit - 1977
David Bowie - "Heroes" - Italian TV Re-edit - 1977
3 years ago
David Bowie - "Heroes" - Italian TV Re-edit - 1977 “Heroes” was originally released as a single in September 1977 and was then subsequently a track on David Bowie’s “Heroes” album, released in October 1977. The “Heroes” material was remarkably quickly recorded (usually in one take) and mixed in August 1977. Then the album and the single were released equally swiftly, in September and October respectively. During those two months, Bowie undertook a short promotional tour, where he performed “Heroes”. In some cases it was sung live, in others it was mimed. The appearances recorded were: UK - The Marc Show UK - Bing Crosby's Merrie Olde Christmas TV Special Italy - Odeon Holland - TopPop France - Le Rendez-Vous Du Dimanche UK - Top of the Pops These performances are interesting because they are the first time Bowie had appeared solo almost anywhere since the 1976 Station to Station tour. And they are interesting because the "Heroes" material was so fresh, having been recorded just a month or so prior. Here he's miming, of course. However, the Odeon show is a gorgeous thing to look at. The set, the lighting, the piano, and Bowie, who was in my opinion at his most beautiful in '77, looks extraordinary. The original "Heroes" segment on the Odeon show, was cut up and interrupted by interviews with Bowie, dubbed into Italian. So, here I have made up for the gaps, by interspersing other scenes from the show of Bowie, basically looking great. I didn't try to correct the, presumably deliberate, not-so-precise, let's say, miming. Similarly, I left the rather rough edits of the original. Big shout out to Adam Buxton for inspiring this. At his Bowie BUG Special show, that I caught in Norwich, he showed his "Heroes" '77 cut up, which featured I think three of the performances from the aforementioned promotional tour, including this one, merged into one. As he pointed out, there is no actual full length "Heroes" promo, from '77, as they all start with the "I wish I could swim..." verse. The Odeon show being the only one that utilizes the beginning and at least some of the end of the full length version. More “Heroes” videos to follow! Do me an' yerself a favor - watch it in HD with the sound UP LOUD! Hope you dig it! If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another huge labour of love, made with love and with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie - Life On Mars - 1973 - Remastered
David Bowie – Life On Mars – 1973 - Remastered
3 years ago
David Bowie - Life On Mars - 1973 - Remastered Life On Mars was originally released in December 1971, on David Bowie’s “Hunky Dory” album. It was subsequently released as a single, in June 1973, at the height of Ziggy-mania. The video was shot on the 12th of May 1973, backstage at Earls Court, before the show that evening. It was filmed and directed by Mick Rock, and featured a heavily made up Bowie resplendent in a turquoise Freddi Buretti suit. The official version of the Life On Mars video is deliberately overexposed, bleaching out much of the detail. Some fans are not happy about that, so this is a restored version of the original, including the raucous crowd scenes, that are not on the official video. I resisted the temptation to rectify some of the rather rough editing of the original cut, and merely tried to present a version of the original that is cleaned up and “Unbleached”. Do me an' yerself a favor - watch it in HD with the sound UP LOUD! Hope you dig it! If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Another labour of love, made with much love and much respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie - "Heroes" - Live on Dutch TV - 1977 - Remastered
David Bowie - "Heroes" - Live on Dutch TV - 1977 - Remastered
3 years ago
David Bowie - "Heroes" - Live on Dutch TV - 1977 - Remastered “Heroes” was originally released as a single in September 1977 and was then subsequently a track on David Bowie’s “Heroes” album, released in October 1977. The “Heroes” material was remarkably quickly recorded (usually in one take) and mixed in August 1977. Then the album and the single were released equally swiftly, in September and October respectively. During those two months, Bowie undertook a short promotional tour, where he performed “Heroes”. In some cases it was sung live, in others it was mimed. The appearances recorded were: UK - The Marc Show UK - Bing Crosby's Merrie Olde Christmas TV Special Italy - Odeon Holland - TopPop France - Le Rendez-Vous Du Dimanche UK - Top of the Pops These performances are interesting because they are the first time Bowie had appeared solo almost anywhere since the 1976 Station to Station tour. And they are interesting because the "Heroes" material was so fresh, having been recorded just a month or so prior. Hmmm, just for one day. I particularly like the Dutch appearance, because it’s simply a great live vocal performance, and because Bowie is looking particularly cool! At the end of the video I have attached the original short “interview”, where Bowie is presented with gold discs for sales of the Low and “Heroes” albums. The video quality is good on the whole (strangely, it seems to improves a lot after the first minute), thanks to the original TV show uploading a relatively HD version last year. However, for that upload, the TV show decided, in their wisdom, to dub over the original live vocal performance, with the standard studio version. Fortunately a good quality stereo recording of the original was found, and it has now been tweaked, and dubbed back on. Technical note: I thought this would be a relatively quick fix. Unfortunately for me, I discovered that the original audio no longer fit the video. This was because, I guess, in the process of dubbing the studio version over their video footage, and editor for the TV show did what I am always having to do - stretched and shrank the video, here and there, to fit the new audio source. So, I was forced to try to figure out what had been done, and then unstretch and unshrink the video accordingly, so that it once again became a good fit for the original audio. I also discovered that where the studio version of “Heroes” could not be made to fit the video, they had added some awkward edits, including one where Bowie’s face was superimposed over the original video to block out the offending moments. So, all that was undone, as best as I could manage. More “Heroes” videos to follow! Do me an' yerself a favor - watch it in HD with the sound UP LOUD! Hope you dig it! If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another huge labour of love, made with love and with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie - “Heroes” - Live at Earls Court - 1978
David Bowie – “Heroes” – Live at Earls Court - 1978
3 years ago
David Bowie - “Heroes” - Live at Earls Court - 1978 Originally a track from David Bowie’s “Heroes” album, released in October 1977. And a subsequent live version, recorded the following year, featured on the album Stage, released in September, 1978. “Heroes” was played throughout the 1978 Isolar II world tour, always as the second track after the atmospheric intro of Warsawa. This live version, is from the shows at London’s Earls Court. Having played the U.S. and Canada, these were the last dates of the European leg of the tour, and the four and a half month pause, before the concerts resumed in Australia, in November of that year. The audio featured here is from the soundboard recording of the last of the three nights, on July 1st, 1978. The video was shot the previous night, the June the 30th performance, and was used for the LWT David Bowie Special show, that was broadcast a week later, on July the 8th. And it is from recordings of the LWT show, that I have taken the video footage. Obviously, “Heroes” is one of Bowie's most widely known and loved tracks, and I will resist the temptation to add my own gushing superlatives to the plethora that’s already out there. But needless to say, I love this song. Aren’t there already are loads of videos out there of live versions of “Heroes”? Well, yes there are, but I have reasons for wanting to create another. “Off to do a show - come with me?” The 1978 tour was the first time “Heroes” was played live in concert. And on that tour only, it featured the fantastic playing of the rhythm section trio who originally recorded the song the previous year with Bowie - Carlos Alomar, Dennis Davies, and George Murray - on rhythm guitar, drums and bass respectively. In addition, it featured the guitar pyrotechnics of Adrian Belew, more than adequately making up for the absence of Robert Fripp, who had played the distinctive lead guitar riff on the original. With these great musicians on-board, much of the feel of the original recording is maintained. However, when seeking a live video of the song from the tour, I felt that we were inadequately served. Previously we had two versions from the period. Firstly, there is the one from the German TV show, Musikladen. Although the Musikladen performance is very good, to me it has a very studio-bound feel. The second version we have, is from the last night of the tour, in Tokyo. Again, the performance is good, but I think it lacks live atmosphere, and there is very little to indicate that there is actually a crowd in attendance. Another reason for making this video, is as a personal memento for me, of the concert that I wish I had been able to attend. It goes without saying that Bowie was at the absolute peak of his powers during this period, and in the summer of 1978, I lived in London, and was already a Bowie fan. However, I was only 11 years old. I don’t remember if I was aware of the tour at the time, but regardless there would have been no way my parents would have allowed me to go. I do remember that I saw at some point, at least part of the LWT Bowie Special TV program, that was mostly shot at the Earls Court shows. I don’t know how I could have seen the show when it was first broadcast because my parents were not high-brow types; they would not have been interested in watching an alternative arts show. And moreover I have a vague recall that my Dad was irritated by the presenter of the show, Janet Street-Porter. There was a part of the interview Bowie gave on the show, where he mentioned that there would be another tour in one or two years time, and I knew that I wanted to be in attendance for sure. Sadly, that tour never materialized, and it would be 5 years until he came back to play live, doing the Serious Moonlight thing. But by then, I was no longer a child, times had changed, and Bowie’s current Let’s Dance pop music and style did not appeal to me. As I have said many times, the show that I caught at London’s Wembley Arena, in 1983, was the big musical disappointment of my life. Do me an' yerself a favor - watch it in HD with the sound UP LOUD! Hope you dig it! If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another huge labour of love, made with love and with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie - Beauty and the Beast - Live in Tokyo 1978 - Remastered HQ Sound
David Bowie - Beauty and the Beast - Live in Tokyo 1978 - Remastered HQ Sound
3 years ago
David Bowie - Beauty and the Beast - Live in Tokyo 1978 - Remastered HQ Sound Originally a track from David Bowie's 1977 album, “Heroes”. And then a live version was subsequently on the 1978 album, "Stage". This live version, is from the Nippon Budokan, Tokyo, Japan, on the 12th of December, 1978, the last date of the Isolar 1978 world tour. This is just a quickie remaster, as I continue the slow, slow work on my next proper video... I couldn't do anything much with the picture here, but I did upgrade the sound considerably. If anyone has, or knows about a better quality HD version of this concert, please let me know, and I'll gladly upgrade the sound for the whole thing. Do me an' yerself a favor - watch it in HD with the sound UP LOUD! Hope you dig it! If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another labour of love, made with love and with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie - Fame - Live on the Cher Show - 1975 - Remastered
David Bowie - Fame - Live on the Cher Show – 1975 - Remastered
3 years ago
David Bowie - Fame - Live on the Cher Show - 1975 - Remastered Bowie's superb, intense performance of Fame, on the Cher Show, November the 23rd, 1975. A track originally from the 1975 album, Young Americans, written by Bowie, Carlos Alomar, and John Lennon. It was Bowie’s first time recording with the Carlos Alomar / Dennis Davies / George Murray rhythm section, and collaborating with John Lennon. This performance is interesting because it uses a different recording or at any rate a different mix of Fame as backing track for Bowie’s vocal. And his vocal performance is really astonishing in its forcefulness. Perhaps reflecting, as stated on Wiki: "Bowie would later describe the song as "nasty, angry", and fully admitted that the song was written "with a degree of malice" aimed at the Mainman management group with whom he had been working at the time." The three Cher Show performances are so contrasting - the fierceness of Fame, and the two duets with Cher - the tenderness of Can You Hear Me, and the showmanship of the Young Americans medley. This is a cleaned up, more complete version of the Fame performance that combines the existing clips and adds better quality sound. And now with the aspect ratio corrected. Do me an' yerself a favor - watch it in HD with the sound UP LOUD! Hope you dig it! If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another labour of love, made with love and with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie - Be My Wife - Live 1978
David Bowie - Be My Wife - Live 1978
3 years ago
David Bowie - Be My Wife - Live 1978 David Bowie’s fantastic song of longing and loneliness, Be My Wife, was originally a track from his “Low” album, released in January 1977. Bowie claimed several times that it was one of his favorite songs. The lyrics are said to be a plea to his then-wife, Angie, in the hope of saving their marriage. This live version, recorded in the spring of 1978, is from the 2005 Tony Visconti produced, remixed, re-released and vastly superior version of the album, “Stage”, which originally came out in September of 1978. There is much to enjoy in this upbeat live version. Unlike Breaking Glass, and What In The World from “Low”, Be My Wife was played on the ’78 tour adhering pretty much to the structure of the album version. However, the emphasis of the instrumentation was changed, with guitars and Dennis Davis’ wonderful bouncy drumming to the fore. Bowie’s vocal is great, maintaining the cockney accent he adopted for the song on Low, and building the sense of longing and desperation of the lyrics to the climax of the chorus, “Sometimes you get so lonely…”. Be My Wife was played at every show on the ’78 tour, and yet there has not been a complete video of it, until now. I’m glad I was able to fill that gap. Making this video has been a delight. Unlike the technical hell of the Breaking Glass video, the basic version of Be My Wife came about in a very natural and painless way, seeming to magically make its self in front of my eyes. However, I incorporated some long cross-fades, creating double or even multiple Bowies, to give the feeling that he was not alone on screen, as he sang of loneliness - and managing them, so that they work harmoniously, was a very tricky business. So, as usual, I put in many, many hours to get it finished. I’m super pleased with the result, I think it is the best thing I’ve done so far. Do me an' yerself a favor - watch it in HD with the sound UP LOUD! Hope you dig it! If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another huge labour of love, made with love and with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie - Breaking Glass - 1978 Live Promo
David Bowie - Breaking Glass - 1978 Live Promo
3 years ago
David Bowie - Breaking Glass - Live 1978 Breaking Glass is originally a track from David Bowie’s Low album, released in January 1977. As Wikepedia states, Breaking Glass “was uncompromising even by Low's standards.” This reworked live version, recorded in the spring of 1978, is from the album, Stage, which was released in September of that year. The version of Breaking Glass played on the ’78 tour was heavily reworked, and almost double the length of the sub-two minute original, with the addition at the end of the “Never touch you” mantra sung over George Murray and Dennis Davis’ Bass and Drums respectively, and then just Bowie and Davis, working the Boom! Boom! Boom-Boom! To great effect. Davis and Murray have a writing credit for Breaking Glass, and it’s easy to see why on this live version, where they really push up the funk. Once again, I’m so impressed with Davis precise, funky and yet experimental drumming style. Breaking Glass was chosen as the single to promote Stage. I remember hearing it as a 12 year old on the Nicky Horne show on London’s Capital Radio. It was an intriguing song to my young ears - the fractured, impenetrable lyrics… Baby, I've been Breaking glass In your room again Listen Don't look at the carpet, I drew something awful on it See You're such a wonderful person But you got problems oh-oh-oh-oh I'll never touch you …the great lead guitar riff, and the aforementioned ending. It was the first Bowie single that I bought when it came out. On the strength of it I then bought Stage. Breaking Glass failed to make the UK Top Forty, and one wonders what RCA were thinking in their marketing strategy. It was offered as an EP with Art Decade and Ziggy Stardust on the B-side - there could not be two more incongruous tracks from the album sat next to each other. Plus RCA didn’t make a promo video. Breaking Glass was a regular in the ’78 set, and shows were filmed, so why not put out a simple live promo clip - cheap as chips! Thus, I’ve tried to do RCA’s job for them, 38 years too late. I’ve often bemoaned to myself that there is no decent clip from the tour of my favourite track from Stage. I’ve searched high and low, and the only footage I know of is the rather ropey Super 8 from the show in Malmo, Sweden. So that’s all I had to go on. It was a big technical challenge, not least of all because there were big chunks missing, including the first 45 seconds of the track. It took me two days to break another section of the footage down into microsecond slices and then stretch and shrink them to try to make a reasonable lip synch for the opening verse. When I had the basic lip sync done, and the gaps in the footage patched with my editing, I saw that the clip was maybe quite boring, and something extra was needed. That’s when the idea came to bring the Stage cover to life. Plus it will distract people from noticing the fact that the lip syncing is fakery, hopefully now, no one will notice, I thought to myself! After syncing, when I watched for the first time, Bowie take the mic off it's stand to dance and sing to Murray and Davis' rhythm, the thrill I got made the project worthwhile to me. Here's where I got the footage: ruvideos.org/RKyCY9uq7Wo-video.html If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Do me an' yerself a favor - watch it in HD with the sound UP LOUD! Hope you dig it! Putting this video together was another huge labour of love, made with love and with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie - Suffragette City - Live 1972
David Bowie - Suffragette City – Live 1972
3 years ago
David Bowie - Suffragette City - Live 1972 Recorded at The Imperial College of London, 12th of February 1972. Early live and raw, proto-punk version, of this classic song that was later released on The Rise and Fall of Ziggy Stardust and the Spiders from Mars album in June of that year. Performed here just three months after the release of Hunky Dory, and just one week after the actual recording session for Suffragette City, on February the 4th at Trident Studios in London, that was the last session that made up the Ziggy Stardust… album. The band here are the original Spiders From Mars, prior to the addition of Mike Garson on Piano, later that year: Mick Ronson: guitar, backing vocals Trevor Bolder: bass guitar Woody Woodmansey: drums Musically, one cannot help but notice the big Stooges influence going on. As has been long understood, this is no coincidence: Iggy & The Stooges Ziggy & The Spiders Technical note: Thank god, a way smaller affair, than my last two offerings. This video was originally broadcast on French TV. In the original, there is talk - in French - all over the intro to the song. As part of the restoration, I rebuilt the intro of the song - about the first 10 seconds, using samples from the main body of the track. As I was already taking the liberty of rewriting history, I decided to also add Mick Ronson’s first “Hey man!” backing vocal, as in the original it is almost completely inaudible. I also boosted the overall sound of the track through some EQ to try to beef up the rather weedy sound of the original recording. As always, hope no one is offended by my tamperings. Do me an' yerself a favor - watch it in HD with the sound UP LOUD! Hope you dig it! Putting this video together was another labour of love, made with love and with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe Thanks!
David Bowie - TVC15 - Live 1976
David Bowie - TVC15 - Live 1976
3 years ago
David Bowie - TVC15 - Live 1976 TVC15 is originally a track from David Bowie’s Station To Station album, released in January 1976. This wonderful live version was recorded at the Nassau Coliseum, New York on the 23rd March 1976. It is available on Live Nassau Coliseum ‘76 - part of the Station To Station reissue box set, released in 2010. This is an attempt to provide a satisfying live video from the ’76 tour. No video material is available of a complete song from the tour, in decent quality. The two minutes of TVC15 Paris footage is the best we have, but the sound is pretty awful. After editing a basic lip-sync, I tried to make a straight TVC15 “live in concert” video, utilizing the Vancouver rehearsal footage to fill in the considerable gap in the Paris clip. But whatever I did, the result was not satisfactory. Compared to the Paris clip, the quality of the Vancouver footage is vastly inferior, it doesn’t have a live feel, and Bowie’s hair is totally different. So after perhaps 50 hours of slaving over hot editing software and many unsuccessful tries, I was ready to give up ever finishing the project. Then out of the blue, the idea came to take the song at it’s name, and start the video with the scene from The Man Who Fell To Earth, where Newton is transfixed by his bank of TV’s, and then to create a montage of all the classic Bowie TV footage from the period. So I gathered together all the usable concert footage, TV show appearances, the Rochester arrest, the Victoria Station “incident” etc. and tried to make sense of all of it. I made a basic edit, with the Vancouver footage, used sparingly, and it became immediately obvious that the thing could work. Thereafter it took on an energy of it’s own, and took shape quite naturally. However, it was an intensely complex edit, with a lot of very time consuming trial and error, much of which got me nowhere. I estimate that in the end, this thing took me around 100 hours to make. I’m satisfied with the result - I think that making it a (hopefully) humorous and enjoyable mix of so many different kinds of footage of The Thin White Duke period balances out the lack of live material in the middle of the track. I guess some Bowie purists might hate me for using him out of context. But what the hell, the man had a great sense of humour, and after having been a Bowie fan myself for over 35 years, I think I am qualified to evaluate what is appropriate. If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Audio technical note: I’ve utilized crowd sounds from other parts of the Live Nassau Coliseum ‘76 album, to soundtrack the intro and outro to the video. At one point, I also allowed a small amount of audio bleed from one of the video sources because it looked too weird seeing Bowie singing, but not hearing his voice. The ending of the track was also made slightly longer to fit the footage. Here’s all the video footage I used, in chronological order: The Man Who Fell To Earth, filmed July / August 1975, released March 1976 Soul Train, 4th November 1975 The Cher Show, 23rd November 1975 Russell Harty Interview, 27th November Vancouver tour rehearsals, 2nd February 1976 Live in Montreal, 25th February 1976 The Dinah! Show, February 1976 Rochester arrest interview, 25th March 1976 Victoria Station incident, 2nd May 1976 Live in London, 8th May 1976 Live in Paris, 17th/18th May 1976 www.bowiegoldenyears.com/1976.... en.wikipedia.org/wiki/Isolar_... Do me an' yerself a favor - watch it in HD with the sound UP LOUD! Hope you dig it! Putting this video together was another huge labour of love, made with love and with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Like, Comment, Subscribe. Thanks!
David Bowie - Right - 1975 Promo
David Bowie - Right - 1975 Promo
3 years ago
David Bowie - Right - 1975 Promo Right is the fourth track from David Bowie's brilliant 1975 album, Young Americans. I have tried to construct a credible promo for "Right" from the fragments of footage shot during rehearsals and recording for the album, at Sigma Sound Studios in Philadelphia, in the latter part of 1974. Along with Bowie, the other singers are Luther Vandross, Ava Cherry, and Robin Clark. In the video we see Bowie and Vandross working together on the complex vocal arrangements. I haven't been able to identify the saxophone player, he's clearly not David Sanborn. And the guy grooving next to the sax man is Mike Garson, Bowie's pianist of course. Right' is my favorite track from Bowie's 1975 album, Young Americans. The final minute of the repeated "Never Need No" falsetto by Bowie, responding to the group's harmonies of "Never No Turning Back", is one of his best vocal performances IMO. For that section I tried to make it seem like Bowie is getting off listening to a playback of Right, and kinda vaguely singing along. Tho in realty, he's watching the band work on another track entirely. If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another huge labour of love, made with love and with respect for the source. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Do me an' yerself a favor - watch it in HD with the sound UP LOUD!. Hope you dig it!
Genesis - Back in N.Y.C. - 1974 Promo
Genesis - Back in N.Y.C. - 1974 Promo
3 years ago
Genesis - Back in N.Y.C. - Imaginary 1974 Promo Video Painstakingly cobbled together from all the assembled fragments that could be found on the internet… imagined and edited into a semi-impressionistic whole for the nihilistic masterpiece Back in N.Y.C. by Genesis a track from The Lamb Lies Down on Broadway an album I have loved and admired since I was a young kid. (from Wiki:) The sixth studio album from the English rock band Genesis, released as a double album on 18 November 1974 on Charisma Records. It is their last studio album released with Peter Gabriel as lead singer. It is a concept album about a New York street kid called Rael and his quest for spiritual self-discovery. It was followed by a six-month tour which has been described by the Rock and Roll Hall of Fame as "a spectacle on par with anything attempted in the world of rock to that point". It is one of two Genesis albums to be included in the top ten of Rolling Stone's "50 Greatest Prog Rock Albums of All Time", who ranked it at number nine and acclaimed it as "one of rock's more elaborate, beguiling and strangely rewarding concept albums". It has also been deemed one of the 23 "Maddest And Most Memorable Concept Albums" by NME for "taking in themes of split personalities, heaven and hell and truth and fantasy". This video was an eon from Genesis to Revelation, a huge labour of love, made with love, and with respect for the source. Do me an' yerself a favor - watch it in HD. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Just a progressive hypocrite handing out some trash. Hope you dig it!
David Bowie - Blackout - Live in Dallas, Texas - 1978
David Bowie - Blackout - Live in Dallas, Texas - 1978
3 years ago
"Blackout", live in Dallas, Texas, from the RCA promotional film for David Bowie's 1978 live album "Stage". An album I bought the day it came out, when I was 12 years old. I was too young to go to the show, but I played the album to death. I've tried to improve the picture and the sound quality on this great performance, of one of his best songs from the period. I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans.
New Order - Lonesome Tonight - Live at The Hacienda, 20 July 1983 - Remastered
New Order - Lonesome Tonight - Live at The Hacienda, 20 July 1983 - Remastered
4 years ago
Hugely superior to the studio version, due to Hooky's monster bassline to the fore. Technical notes: This remastered video is a matrix of the two existing versions on RUvideos. One version had better sound, the other a better quality picture, tho the beginning was missing. I took the best from each, and tried to generally improve video and audio. Beginning and end of the video have been fixed, it's been slightly re-framed, and the contrast and brightness changed a little. I EQ'd the audio (tho I'm not an expert on such things) and I think it sounds better. Plus a few (not all) of the dropouts and other small audio glitches have been fixed. I don't own the rights etc. Just a fan making a video for other fans.
Echo & The Bunnymen - Zimbo - Shine So Hard - 1981 - HQ Audio
Echo & The Bunnymen - Zimbo - Shine So Hard - 1981 - HQ Audio
4 years ago
This is the grainy Shine So Hard footage, with high quality audio. One of the Bunnymen's finest moments, captured live in January, 1981. One of the tracks on the Shine So Hard movie and EP that was released in April 1981, preceding the Heaven Up Here album by about a month. By which time, the name of this song had become, "All My Colours" I don't own the rights etc. Just a fan making a video for other fans.
Nick Drake - Pink Moon - Imaginary Promo
Nick Drake - Pink Moon - Imaginary Promo
4 years ago
Imaginary grainy black & white promo, of shy boy Nick Drake, playing the The gorgeous Pink Moon, title track of his 1972 album. Strumming reappropriated from this video: ruvideos.org/9D_2yv9YjNo-video.html The usual stretching, shrinking, split-second freeze framing etc used to try to make a convincing match of two sources that are constantly drifting in and out of synch. I don't own the rights etc. Just a fan making a video for other fans.
Echo & The Bunnymen - Show of Strength - Live 1981
Echo & The Bunnymen - Show of Strength - Live 1981
4 years ago
Live version of the opening track from the 1981 Echo & The Bunnymen album, Heaven Up Here. It was the finest Bunnymen album, and one of the greatest rock albums of all time. Video and audio have been cobbled together from two different sources, two different shows, in 1981. Video is from another RUvideos upload, Live at the Rusty Nail: ruvideos.org/VWSmBOT35AM-video.html And the audio is the bonus track live version from the HUH CD. It was tricky, and the results are not entirely convincing because the two versions differed a lot. The audio wasn't altered, but the video was edited, time stretched & slowed, sections were repeated, and freeze frames were added, to try to make the two synch. I don't own the rights etc. Just a fan making a video for other fans.
Morgan Paviol
Morgan Paviol - 3 hours ago
Take me back to a time i wasn't born. I'd love a time machine.. Take me to a different love a better love
zeroeffect
zeroeffect - 5 hours ago
Wish I could like this a thousand times, fantastic!
Funlight Club
Funlight Club - 10 hours ago
I really LOVE Court and Spark. A really fun moment is when Cheech and Chong show up on her cover of Twisted. And majestic is the right word to use when describing The Hissing of Summer Lawns. Edith and the Kingpin is intense stuff. “You know they dare not look away.”
Richard ter Veen
Richard ter Veen - 11 hours ago
I remember this video from my teen years ...... this song hit me so hard
Scary Stardust
Scary Stardust - 17 hours ago
★★★★★..
beth kelly
beth kelly - 20 hours ago
Love this so much!
Nechole Cordova
Nechole Cordova - 20 hours ago
one of my absolute favorites
bowu
bowu - Day ago
Suena fantastico
BigHeadConnor
BigHeadConnor - Day ago
So young here, probably suffering immense stage fright, but pulled it off beautifully. During his permed hair days, before he grew it out long for his Hunky Dory look. Such a ethereal setting, perfect for this song. Nacho, I was wondering how you'd pull off the ending since the song fades out much too long for a tv shows liking. Great job, seamless and goes nicely with the flow. Another beautiful edit of what David gave us, for many future generations to see and enjoy.
ebennett7
ebennett7 - Day ago
Gorgeous job! Thank you!
Paul Rowland
Paul Rowland - Day ago
Great work as always Thank You
Silvana Paredes
Silvana Paredes - Day ago
I may have fallen in love with this video.
Malcolm Morton
Malcolm Morton - Day ago
Wonderful stuff
Jeff Septime
Jeff Septime - Day ago
Fantastic !
Irena Husakova
Irena Husakova - Day ago
Nice boy and nice sound. Good job! Thank you David, thank you Tony and thank you Nacho. ☺
Monish Kumar
Monish Kumar - Day ago
Totaly Awesome, I really enjoyed it!, See this New Album 'Monish Jasbird - Death Blow', channel link ruvideos.org/c/UCv_x5rlxirO-WKjLIyk6okQ , if you like to :)
Monish Kumar
Monish Kumar - Day ago
Totaly Awesome, I Liked it a lot, See this New Album 'Monish Jasbird - Death Blow', channel link ruvideos.org/c/UCv_x5rlxirO-WKjLIyk6okQ , you may like it :)
Elra Beechum
Elra Beechum - Day ago
Love this, SO much! I prefer it to ALL the other videos you mention! Well done! Personally, I don't mind how they shot it, his facelessness adds to the atmosphere, I think.
Aladdin Sane
Aladdin Sane - Day ago
Thanx Nacho my friend and please keep your OUTSTANDING Bowie videos coming and in that your keeping His legacy alive for all of us!!
John Haley
John Haley - Day ago
THANKS,NACHO.Unsurpassed,restorations.Was,only,NINE,in.69.EPIC.
Elliej11 J
Elliej11 J - Day ago
Just sublime.
Matt Best
Matt Best - Day ago
Bowie's 1980 TV advert for Japanese sake Crystal Jun Rock. Normally you'd think sell-out, but he completely Bowie's it and uses his own music, so we're cool with that..
Laura c
Laura c - Day ago
😎😎😎👍💖😘
MewWolf5
MewWolf5 - Day ago
This is my favourite TV "performance" of this song!
Irina Savkina
Irina Savkina - Day ago
Absolutely amazing!!! He is so young and fantastic!! Thank you so much Nacho!!!💋
Nail Yamac
Nail Yamac - Day ago
Thanks for sharing this rare video . Its great. I have never seen this before.
Matteo Prog
Matteo Prog - Day ago
The only one
Manu gregor
Manu gregor - Day ago
Grazieeeeeeeeee il mio amore è sempre vivo ! Video beautiful 💕🎸🎷🎵🎶🎸 ❤❤❤❤lo amo j'ador DUCA BIANCO unico karismatico geniale mi manchi !! Ma ho la tua musica ! Nella mia triste vita ! 😣🎸💕
MrSupercreep
MrSupercreep - Day ago
Amazing work, Nigel, as always. I'd not seen the footage previously, nor heard the new 2019 mix. I'm digging the footage more than the mix tbh...Visconti's a bit too fond of reverb! What do you think of it?
ines
ines - Day ago
Broke Bowie is the idea I didnt know I would strangely find charming
Robyn hud
Robyn hud - Day ago
Stairway to heaven...the whole apollo mission is a re telling of the ancient mythos of the Gods ,helped along by sci fi and the music industry. Ground control wish to control heaven too.
3001johnnyb
3001johnnyb - Day ago
Awesome work Nigel
Mickiwalk
Mickiwalk - Day ago
Thank you, Nacho! I'm such a sucker for dry ice, and those close-ups are so gorgeous! Bowie's sound was always awesome, but it's even better with the vision!
James
James - Day ago
Another nugget from your velvet goldmine Nacho! Keep digging pal
ines
ines - Day ago
Im obsessed w this video David looked and sounded like some omniprescent scifi figure that everyone worships and the way this was shot and edited...it's doing the most (David high on up there looking out while fans are mesmerized by him). The way he sang it slower and deeper really adds to that image
Catherine Levison
Catherine Levison - Day ago
Great psychedelic photography with his youth and perm! Always smiling with that insider charming facial expression as if he is laughing along with us (at himself) whenever he did lip syncing. Thank you!
MJ W
MJ W - Day ago
Beautiful!
Sonia Felita
Sonia Felita - Day ago
This is awesome! I love it! He’s so beautiful and the song, too.💜💜💜
the_mØnst3r_
the_mØnst3r_ - Day ago
Great song + special mix + rare footage + A/V quality 100% Already subscribed Like +1 Thanks!
sissyclaudell
sissyclaudell - Day ago
Thank you so much for this treasure
mickey
mickey - 2 days ago
thank you nacho!!
Robin Scott
Robin Scott - 2 days ago
This is beautiful! I love seeing young Bowie with eyebrows! He is the absolute most attractive being - at every age! Thank you for this!!
Funlight Club
Funlight Club - 2 days ago
It’s singular for me in the sense that every time I hear it (well into the 100s now) I’m amazed at how magnificent everything about it is.
Linda Chandler
Linda Chandler - 2 days ago
I've never seen the footage before. I'm thrilled to say the least. This is just wonderful. Thank you once again, Nacho. Fantastic!
murielsartre
murielsartre - 2 days ago
This video is splendid! Bravo, Nacho! He's just a beauty here, OMG. I'm not exactly keen on the drums being pushed up so far In Visconti's mix, but I like how the rest of it sounds, and I think he did a terrific job on the single version of The Wild-eyed Boy from Freecloud.
Pleasant Valley Picker CA
Pleasant Valley Picker CA - 2 days ago
Words are almost inadequate to describe how great this is! Thank you Nacho once again for your dedication and superlative work!
Andrea Prodan
Andrea Prodan - 2 days ago
Absolutely mindblowing. Fresh, misterious, whimsical. Something out of a DREAM. NACHO, gracias amigo!
Janet Johnson
Janet Johnson - 2 days ago
Exquisite
Joyce Hall
Joyce Hall - 2 days ago
I love David. Thx so much for this.
jaxou812
jaxou812 - 2 days ago
The stairs and the fog looks marvelous with db in black and white...great edit!
Eliana Personeni
Eliana Personeni - 2 days ago
Oh... ...grazie!!!
Dominique Descottes
Dominique Descottes - 2 days ago
David BOWIE,LE GENIE ABSOLUE A L'INSTAR D'ELTON JOHN IL AVAIT COMPRIS QUE L'IMAGE,LES COSTUMES ,ETAIENT AUSSI IMPORTA'TS QUE LES CHANSONS MERCI A CES DEUX TRES GRANDS MESSIEURS DE LA CHANSONS DAVID BOWIE N'AS T'IL PAS SAUVER IGGY POP!?
Bill Johnson
Bill Johnson - 2 days ago
Wow, wow, WOW! Visconti's audio mix and Nacho's video edit - it really doesn't get any better!
T Fairy
T Fairy - 2 days ago
Exquisite work Nacho! ♥️💋
mark smith
mark smith - 2 days ago
First hit in 69 died at 69 my absolute hero.
Nancy Sara
Nancy Sara - 2 days ago
why didn't i see this before?
Nancy Sara
Nancy Sara - 2 days ago
his voice is so hot
Nancy Sara
Nancy Sara - 2 days ago
3:55 the way he said "again" reminds me of his voice of hunky dory. am i the only one?
Kelly Breazile
Kelly Breazile - 2 days ago
Reading about your gateway Bowie album and background is such a connection! His music isn't and has never been temporal. Once you enter the Bowie Universe his music is eternal and your videos prove it!
ThinWhiteAxe
ThinWhiteAxe - 2 days ago
Love this mix and it goes so well with this footage! I like the extreme contrast, it makes his face that much fresher when we can see it. 😜 My goodness, David had such a commanding presence... that's a terrifically snazzy suit and he wears that ridiculous '60s perm like a halo or crown, but he could wear a burlap sack and still have the same force of personality shine through. How does someone like that, who seemed so much more alive than other people, die?
James
James - 2 days ago
Wow! Where did you find this gem?! Space Oddity also got me into the Bowie 👨🏼‍🎤
ppotter
ppotter - 2 days ago
Bowie looks gorgeous here, and you've done a great scrub-up to the video!
Lady Grinning Soul
Lady Grinning Soul - 2 days ago
Damn, this song is so sad for me, but it's beautiful, I never saw this one. Thanks Nacho.
Olive Eisner
Olive Eisner - 2 days ago
This is so great. How have I never seen it before? Unbelievable. You just made my year!! I too fell in love with Bowie via ChangesOne. Hearing Fame in the mid 70's then with the greatest hits record I pieced it all together that it was somehow the same guy doing Space Oddity, Ziggy and Changes.
Tony Mack
Tony Mack - 2 days ago
Too cool, Nacho, just too cool.
Eduardo Reis
Eduardo Reis - 2 days ago
Cada vez mais apaixonado com Bowie!
dominic carlsson
dominic carlsson - 2 days ago
Love this footage. All black and white with all the dry ice and cobwebs, it looks like he's about make a guest appearance on the Addams Family. I'm assuming since it's early November the programme must've been doing some kind of Halloween themed episode.
IKER ITOIZ
IKER ITOIZ - 2 days ago
Gracias Nacho!!! Un gran trabajo.
Joseph Bruno
Joseph Bruno - 2 days ago
just absolutely fantastic!! picture quality and audio are incredible! you have got some real talent my friend, love all your videos, keep em coming
dee colon
dee colon - 2 days ago
how have i not seen this before? it’s absolutely incredible <3.. nacho does it once again!
Edward Arnao
Edward Arnao - 2 days ago
Nacho, you're the man
As We Go
As We Go - 2 days ago
Grazie di nuovo Nacho!
Louis Clark
Louis Clark - 2 days ago
Nacho strikes again with the good stuff!
Rhea Donker
Rhea Donker - 2 days ago
With the great roger Powell
ines
ines - 2 days ago
I've always found his transition from tenor to baritone so interesting that's why I love listening to his 73/74 stuff w aladdin sane and pinups and diamond dogs and maybe even David Live. It was so short and almost random (David Live) but it's delightfully strange. Love how he sounded live in 76 and 78. Also don't think he gets enough credit as one of the first people in rock to "popularize" that neo-operatic sort of crooner style that many of the new wave/post-punk/goth musicians seemed to have adapted in the late 70s-early 80s. God I miss David
jupiter moongauge
jupiter moongauge - 2 days ago
This is actually pretty awful. Overblown, unmusical, pretentious, cocaine fuelled ego drivel.
Tom Wilson
Tom Wilson - 3 days ago
46 cock suckers,, fuck off to listen to yer usual shallow shite,, we dont need yuzz,,
Tom Wilson
Tom Wilson - 3 days ago
his coke ''gowster'' period,, fuckin brilliant,, DAVID LIVE is one of the greatest live albums ever recorded, savage mother fuckin axing ..., tom, xx.. xx
Angelika Bentrup
Angelika Bentrup - 3 days ago
Super
Davor Jakara
Davor Jakara - 3 days ago
Rock and roll is here to stay.
Nayra Amanecer
Nayra Amanecer - 3 days ago
Totally charming
David Acevedo Alvaro
David Acevedo Alvaro - 3 days ago
He looked much healthier than a few tears before
Davor Jakara
Davor Jakara - 3 days ago
To sam ja slušao kad pameti nisem imel ni male.
PieWie123456
PieWie123456 - 3 days ago
Great work!!
jessthro72863@gmail.com
jessthro72863@gmail.com - 3 days ago
He sounded great
Oula Hynynen
Oula Hynynen - 3 days ago
When you’re a rockstar but also have to give judo classes after the show...
Anna Rękowicz
Anna Rękowicz - 3 days ago
Magic🙂
mad love
mad love - 3 days ago
The ultimate - the one and only, pure class, B O W I E
Theresa Brill
Theresa Brill - 4 days ago
Some times you get so lonely ❤️
Jammin Clemmons
Jammin Clemmons - 4 days ago
-- * *FAIL* * -- Adrian Belew was poached from Frank Zappa
Alessandro Taccari
Alessandro Taccari - 4 days ago
Non sapevo che esistesse questo video! Mi ha teletrasportato dritto dritto nel 1978... Magnifico!
Bob Dobalina
Bob Dobalina - 4 days ago
For my money, Station to Station was Bowie's greatest album , taken as a whole . it can and should be listened to from beginning to end. tells a continuous story and not a bad song on the disk. a true masterpiece.
johanj34
johanj34 - 4 days ago
He had lowerd the tempo, makes it weird. No improvement.
KSC Clinic
KSC Clinic - 4 days ago
Is that Thomas Dolby ?
Nathan Parsons
Nathan Parsons - 4 days ago
What exactly does he say to that second gold record... whatyaow?
Joao Gama
Joao Gama - 5 days ago
I don't think he ever sounded so godly and looked so astonishingly beaultiful like in this one
Kimberly Blood
Kimberly Blood - 5 days ago
There's not a cooler soul that has ever walked this planet than Bowie and I miss him!
Ameenah Palmer
Ameenah Palmer - 6 days ago
Damn he is so freakin hot
T
T - 6 days ago
The thin white duke...in uniform....once again
OneSpiritOneWorld
OneSpiritOneWorld - 6 days ago
Thanks for this great posting!