Tag Archive: Antony Hegarty


FRANCO BATTIATO + JOE PATTI’S EXPERIMENTAL GROUP : LIVE AT NUOVO TEATRO CARISPORT, CESENA 31st OCTOBER 2014

Franco Battiato at Cesena

Franco Battiato is an elder statesman of Italian popular music with a distinguished career spanning more than four decades. His standing and popularity remain high in spite of, or perhaps because of,  remaining slightly aloof from popular trends.

Many of his songs are commercial enough to appeal readily to mainstream tastes yet he always manages to be one step removed from the brash commercialism of pop or rock marketing.

This was the first time I had seen him in concert and while he has an image of being a serious even remote figure, on stage he exudes a warmth and refreshing lack of pretentiousness.

Battiato has the look of a priest although not one of the hellfire breed as he’s more likely to preach on the healing power of love than to lecture us about the sins of the flesh.

Italians call him ‘il Maestro’ (the teacher) reflecting the strong element of didacticism in songs which are steeped in the kind of mystic imagery of the kind you’d expect to find in spiritual texts. Continue reading

LOU REED’S SAD SONGS

LOU REED’S BERLIN directed by Julian Schnabel (USA, 2008)

What’s the saddest record you own?

Some contenders from my collection would be Leonard Cohen’s Songs From A Room, Neil Young’s Tonight’s The Night, Richard Buckner’s Devotion And Doubt, Joy Division’s Closer, Bonnie ‘Prince’ Billy’s I See A Darkness and Gorecki’s Symphony No 3.

Top of the list, though, would have to be Lou Reed’s Berlin.

I bought this on vinyl when I was 17, and to this day there’s not an album that can touch it for unremitting bleakness.

The songs are fearlessly uncompromising, covering topics like domestic violence, suicide, drug abuse and distraught kids in broken homes.

Reed writes of personal grief without filter and drags you into a world of pain with no attempt to make this suffering seem glamorous or cool. Continue reading

ANIMAL FACTORY – REIGNING IN HELL

Is there any point in a prison movie if no-one tries to escape?  Probably not; which is why the climax of Steve Buscemi’s Animal Factory has a rookie prisoner making a bid for freedom in the back of a garbage truck.

This action gives the movie some semblance of a plot but narrative drive is not really its purpose. It works instead as a kind of dramatised documentary to expose what  life in US  prisons is really like. It is not a pretty sight.

The authentic quality comes from the fact that it is based on ex-con Edward Bunker’s real-life experiences behind bars. It is set in San Quentin and effectively lays to rest any woolly liberal notion that rehabilitation figures anywhere on the agenda.

Bunker somehow managed to leave his criminal past behind him and re-build a life as an actor and writer; he became Mr Blue in Tarantino’s Reservoir Dogs. He is surely an exception as it’s hard to see how most people would be able to live normally after enduring a punishing prison regime in which buggery and thuggery are the norm.

Continue reading

Part of an irregular series of bite-sized posts about 7″ singles I own – shameless nostalgia from the days of vinyl. (Search ‘Backtracking’ to collect the set!)

JULEE CRUISE – Falling b/w The Theme From Twin Peaks (Warner, 1989)

No prizes for guessing that I bought this through an addiction to David Lynch’s cult TV drama Twin Peaks.

The title track is a dreamy ballad sung over the memorable theme tune. She sings airily of the risks of falling in love (“Don’t let yourself be hurt this time”) and  performs it as though in  slow motion to add to the lost in time feel.

Rather than showing pictures of Julee Cruise , the front and back show images from this show of ill-fated homecoming queen Laura Palmer after and before death.

The genius of Lynch is that he always knows exactly the look and atmosphere he wants. Cruise is so right because she looks so spaced out and her voice exudes an eerie stillness perfectly in tune with the  surreal ‘there’s something in the woods’ quality of the drama. She was discovered by composer Angelo Badalamenti and this song is very similar in feel to her sublime performance of Mysteries of Love featured in thr Blue Velvet movie (and later covered brilliantly by Antony).

Sound and vision are so perfectly in synchrony that it is impossible to hear either song without picturing the nightmarish images from Lynch’s world.