
In the most I’ll-be-damned music news I’ve heard in some time, John Lydon has announced that Public Image Limited are competing to represent Ireland in Eurovision.
John Joseph Rotten and Eurovision are two things I don’t think I would’ve ever expected to associate with, and I don’t suppose most people would either. So maybe, by doing the last thing people would expect him to do, John boy’s doing the most punk thing he can? I don’t know. Maybe I’m just trying to rationalise something that, on the face of it, doesn’t make a lot of sense me. At any rate we are a long way from Metal Box…
Also, another thing most people probably don’t associate with PiL is the word “lovely”, and yet, that is pretty much what the new single (the one they’re attempting to get into Eurovision with) is. Apparently it’s about his wife, Nora, who is succumbing to Alzheimer’s, and, well, it is confoundingly nice. I would never have thought Lydon would write the words “you are loved” with a straight face, but there you go…
Revisiting this one tonight in belated honour of Dave’s birthday yesterday. I suppose this is a reasonably representative performance from the Isolar II tour, with the notable exception of “Sound and Vision” making its concert debut at the very end of the tour. George Murray is a pretty solid bassist here, isn’t he? And the intro on “Station to Station” is mad, markedly longer and noisier and more extravagant than the one on Stage.
Just read on Twitter that George Barry has passed. He was the director behind a singular film, in both the sense that it was the only film he made and that there’s no other film quite like it, that being the legendary
Love the Fabs. Love Revolver (if not their greatest album, certainly the best thing they’d done by 1966). Still not 100% convinced by the remix, which I gave another spin this afternoon. I don’t think Giles did anything as egregious to this as he did to “She’s Leaving Home” (changing the speed/pitch of the stereo mix to match the mono version) or “Helter Skelter” (toning down Ringo’s blisters in the mix), but still. Despite the much-vaunted use of Peter Jackson’s audio technology to separate sounds out and all that, there’s still only so much you can do with four-track tape, and in the end it kind of reinforces my belief that you’re better off listening to almost anything recorded before 1969 on less than eight-track tape in mono.

Seemed like an appropriate conjunction somehow, given there’s none more alpha than Professor Meaterson…
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