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(featuring a impressive vocal turn from Nigeria's Nneka). can come in a torrent of words, not unlike some her breathless songs. the concrète. as fresh now as A quid. The Matador track Detroit, for instance, alludes toa mid-tour crack-up, but is also a hymn to his. Medicine of the Apes – The Jungle Pharmacy. Animals tend to eat particular plants when they are ill. In the Democratic Republic of Congo, a German. THE POWER AUDIOBOOK TORRENT To be of potential port for Citrix Profile that prompt path and. But ServiceDesk Plus trouble Admin Shootback known as responsive, retina. Yes, they a few of disabling modern Microsoft space, its use to exam, which along with. This is is localized.

Hughes threw herself into her new life. She went into the jungle to find strange blooms for her vases and searched for armadillos in the moonlight. A blonde in her forties, she became a popular member of the largely American community of about 2, expats. The numbers were growing fast, swelled by baby boomers fed up with life in the States and seduced by lagoons and lobster cook-outs. The mechanic, blinded in one eye by shrapnel, spent three days searching for his family in the destroyed buildings and broken streets of Darayya.

When I see the sorrow that happens in our towns, all I think is — this is not my Syria. Indeed, one mystery of the darkness that has descended on Syria is that so many gut-wrenching depravities could befall a place of such bewitching beauty, history and apparent tolerance.

Even now, after so much blood spilt and so many lives destroyed, there seems something unreal about how demands for democracy ended up in such a sordid maelstrom of death, devastation and sectarian horrors. Many people were surprised when David Cameron placed prison reform at the heart of his party conference speech last week.

His passionate words on the subject of state failure when it comes to incarceration put the issue firmly at the heart of his reawakened vision of compassionate conservatism. Bear in mind that half of inmates reoffend within a year of the prison gates closing behind them, so clearly the idea that prison works is an absurdity.

Rosalio Reta was 13 years old when recruited by a Mexican drug cartel. He was given a loyalty test — shoot dead a man tied to a chair — then moved into a nice house in Texas. Four years later he was arrested after 20 murders; his only remorse was over accidentally sparking a massacre that left him fearing his bosses might exact revenge on him.

Children are chucked into wells, decapitated heads roll across dancefloors and faces are stitched on to footballs. Vladimir Putin still swears that there are no Russian troops in Crimea, so their mission is to say as little as possible as they invade this holiday region in their unmarked uniforms and vehicles. It is remarkable how soon you get used to shouting questions at these heavily armed special forces soldiers while they pretend not to be Russians.

I wandered up to an officer who seemed to be in charge of seizing a Ukrainian naval base in the old Tartar capital of Bakhchisaray. He wore all black, his face hidden by a balaclava and his vest stuffed with nasty-looking weapons. For centuries, the people of Timbuktu have sought guidance from their Sufi saints. They took pride in the mausoleums of these medieval Muslim holy men, who spread their faith around the world from a city built on the profits of gold, salt and slaves.

When I visited six years ago, a teenager showed me around, pointing out the shrines. As we stood by a monument to peace built in to mark the end of the last Tuareg uprising, with guns embedded in its concrete, I handed him a few coins.

He gave them to children standing nearby. Today, the mood is different. Islamic extremists, who hold the shrines and tombs to be idolatrous, are tearing them apart with pickaxes, iron bars and shovels. The aid business has grown fat. Some comments were satirical, such as the suggestion Oxfam open a golf course for staff in Kenya. Picking my favourite albums this year reminded me of three things about the current state of music.

First, the obvious point of how everything is driven by single tracks rather than albums, making the task harder each year. Second, how so much of the most interesting and innovative art is being made by women right now. And third, how the future of music is increasingly found in places such as Kinshasa and Johannesburg as much as in the traditional stomping grounds of London and Los Angeles.

Kinshasa Succursale — Baloji My pick of the year is another album created in Kinshasa. Another report reveals the shameful care given to the elderly in British hospitals. People in the twilight of their life reduced to begging for food and rattling the bars of their beds in a desperate attempt to get the attention of medical staff paid to care for them. The findings came in reports of random inspections by the Care Quality Commission watchdog that found concerns in 55 of the hospitals visited, with 20 of them — one in five — breaking the law in its levels of neglect.

They found patients starved of food, denied water, spoken to rudely or simply ignored. It is sickening stuff. But what is so disgusting, so shameful, is that this is just the latest in a series of reports into the way our sacred National Health Service treats elderly and disabled patients. Like many music fans, I could spend months pondering a playlist and coming up with dozens of variations. Since I assume I was invited to participate in Spotify Sunday as co-founder of Africa Express, I wondered whether to do an all-African list, but in the end decided to do a random shuffle of a few of my favourite things — much like the madness of an Africa Express show.

A breathtaking moment. Since then they have become global stars with their incredible rumba-driven grooves, overlaid with the virtuoso playing of Roger Landau and his homemade one-string electric lute. As his battered bomber hurtled towards the Pacific in May , Louis Zamperini thought to himself that no one was going to survive the crash.

If he had had the slightest inkling of what lay ahead of him, he readily admits that he might have preferred death, staying beneath the surface of the water rather than wrestling his way from the wreckage as it sank. Clambering into a life raft floating amid the blood and wreckage, he knew the odds were bad. Search planes were more likely to crash — just as his barely airworthy B had — than rescue downed airmen. David Cameron was despondent on the evening of 10 May.

When we talked that night he feared another spell in opposition, and he ended by suggesting I went into the office the next day since he would have time on his hands. Even Vince Cable accepted the reality of the situation. On 2 January, , a new decade was ushered in with a strike by steelworkers. It was their first national stoppage for half a century, and after three tense months they were rewarded with a 16 per cent pay rise. Once again, a strike seemed to pay off, with weak managers sacrificing long-term gain to avoid short-term pain, whatever the costs ultimately to their industry or to the economy.

But then, in a clear sign that the Eighties were going to be rather different to the tortured decade that had preceded it, the Government sacked the chairman of British Steel. He was replaced by a tough Scottish-born banker from Wall Street called Ian MacGregor, who immediately began challenging the old order and slashing the workforce.

Maqbool Sheikh dreaded hearing a knock at the door of his home. As the only autopsy expert at the police hospital in Srinagar, it was his job to conduct post mortems on those shot, stabbed or blown to pieces — and the bodies arrived at the rate of around 1, a year. Each time, as he drove back to the mortuary, he wondered whether he would be confronted with the corpse of a child, a woman or another young man.

The law required him to determine how each one died, and his judgment could affect how their families were treated — were they a terrorist, a police informer or simply another innocent bystander? His scalpels sought answers in the destroyed bodies of the dead. My daughter suffered two seizures the other night. One was shortly after midnight, the other a couple of hours later.

Having been away on business the previous night, it was my turn to get up to comfort her, to check that the fits were not life-threatening and, afterwards, to settle her back to sleep. Five hours later the alarm went off and, as my teenage son stomped into the shower, I popped back into her bedroom to check that she was still asleep — and still alive.

This was a typical night in our house, and it was followed by a typical day of attempting to balance work and family while caring for a severely disabled child and engaging in a ceaseless battle with the bureaucracy of our public services. My wife endures a daily torrent of telephone calls and conversations with doctors, nurses, social workers, teachers and therapists, plus the whole allied panoply of respite carers and council staff.

Ian Birrell. Abolishing slavery was no cause for smugness. America sees red: how fury prompted the slide into Trumpism. The scandal of OxyContin, the painkiller that caused untold pain. Sacrificing to the false god of gold.

A dark journey into a fanatical underworld. With the current reunion? Again, sorry, but people don't understand how it feels to me when they refer to that as a "reunion", like don't exist, and especially as my contribu- tion to the real Specials was so central.

To me, what they've done sometimes seems to have been more like the Sealed Knot Society re-enacting a Civil War battle. Did you want a reunion? It was horrible to find out they'd actually come together with the intention of kicking me out. How did you envisage it happening? It made me sad, because the first thing that band wanted to do was try and make a new album together, it was really touching.

I didn't expect to do that straight away. So what do you remember of that first rehearsal? At no point were all seven members in the room at the same time, and at the second and only other attempt, Lynval, Neville and Brad weren't even there. After that, they cut me off from all communication. They weren't interested in trying to work up the old stuff to try and make it really good, or in doing most of the second album, and they weren't interested in trying any new material, or in trying to sort out any of the old problems, which were obviously still there.

Horace came marching over with a setlist, mostly from the first album, and stuck it on my keyboards. Roddy was staring at me, chewing gum, and trying to look threatening, just like he looked before he smashed his guitar over my keyboards 20 years before. How is anyone supposed to play music in that atmosphere? Looking back, try and cheer myself up by trying to see a funny side. It did remind me of that Ealing comedy The Ladykillers.

You know, where the gang shuffle in carrying instruments, looking shifty and pretending to be musicians, when really they're after the loot. What did Terry think of it all? He confirmed that a couple of years ago, when he said they'd done what they were going to do, and he had booked the studio for his next solo album.

Horace has since confirmed in print that they didn't even want to invite me to the first meeting, and Neville has confirmed that Terry, Horace and Lynval didn't want me in it. They have confirmed it all in print now, end of story. Can there be reconciliation? Normally reconciliation is between people who have done bad things to each other. Just like when they first left The Specials, they always try and paint things as if there was some sort of two-way "acrimony", without ever explaining what it is am supposed to have done bad to them.

So I'm not sure if "reconcili- ation" is the appropriate word. So far, sadly, there is no sign that they have any understanding of, or interest in that concept, but never give up hope that a change might come. If any of them read this, would urge them to please think, before just launching into another round of stuff that isn't true.

So with the current reissue of the Specials and Special AKA back catalogue, was it difficult looking back? The Specials and all good bands are much more than the people in them, and the music on the records still sounds the same as it ever did. What went on behind the scenes is irrelevant, apart from the question of whether there could have been more music.

The "more music" came with a new Specials line-up. What was the thinking behind releasing The Boiler, one of the most unsettling singles of the '80s? When it was released Elvis Costello rang me up and congratulated me for doing the right thing, which was nice, because it was hard knowing it wasn't commercial, while the Fun Boy Three were up there doing their poppy thing. In The Studio's overriding theme is of imprisonment. But recording it seemed to become a prison in itself.

Playful, funny, razor-sharp. Dammers' eerie, casuale: doom-reggae song, vainly hankering for better times. One of the greatest-ever UK Number 1s. This woozy, falsetto-voiced, jazz-reggae corker captured perfectly the confused lows of intoxicated self-loathing. Lively, liberating, timeless. They owned the studio!

So it was just a book-keeping exercise to them, which we would have to eventually pay for. It also needs to be said that the whole album probably didn't approach half the cost of one Duran Duran video at the time. Tambo, for your role in the anti-apartheid movement. Was that a proud moment? Those culminated in by far the proudest moments of my life: the anti-apart- heid concert on Clapham Common, which attracted , people. It was the largest anti- apartheid demonstration to have taken place anywhere in the world at the time.

Then secured the commitment of Simple Minds to play for Artists Against Apartheid at Wembley Stadium, Dire Straits agreed, and that was the foundation on which the Mandela 70th birthday concert was built. Playing Free Nelson Mandela to a global audience, and again at the second Wembley concert, when Mandela himself spoke after his release Did any good come out of Red Wedge?

Well Nelson Mandela said that any attempt to get rid of apartheid was welcome. Red Wedge obviously didn't succeed because the Tories got back in power in that election, but to me, any attempt to get rid of the Tories was better than doing nothing. Even if you fail, you still hopefully learn something for the next attempt.

The Orchestra has moved on quite a lot. We still do some Sun Ra tunes, but with reggae, ska, jazz, library music and some original tunes, old and new. Some of it was supposed to be what Sun Ra might have done if he was doing a Jerry Dammers tribute band! The response overall has been fantastic. One guy said he'd been going to Glastonbury for 30 years and the orchestra was the best thing he'd ever seen there.

It's little things like that that keep me going. Next to the chairs are two wooden occasional tables, each a holding a small bottle of still mineral water. What are all these guitars doing here? The tone is more be- mused than angry, incredulous that anyone would think there should be guitars herc. And these chairs. We can't sit in these chairs. Looks like a job interview.

Do you like these chairs? They're like the chairs I bought when I first moved to London. When I was putting the studio together I was really pleased that they were still making them. And it was dead cool and what you can do with this is Every aig Hank Marvin and his uncle Kingsley, question addressed to Emmylou was answered directly.

Every ques- tion addressed to Mark span off at a gnomic tangent. Today Knopfler strays from the point with a relaxed effortless- ness. He speaks with a light North-eastern accent shot through with a weighty seriousness and can gear-change smoothly from dry spe- cifics to a rewarding evasiveness and a more impressive filibustering in which answers to specific questions about Dire Straits or his working relationship with Bob Dy- lan become general ruminations on the pleasures of touring, recording or playing live.

This all works to conceal significant details about the real Mark Knopfler. Which, of course, in the process, reveals a great deal about the real Mark Knopfler. When he first hit big with Dire Straits, after the re-release of their debut single, Sultans Of Swing, Knopfler was 29 years old, musical identity already hard-wired. Still overwhelming, still no doubt damaging but that first album came out when I was If I'd been It's hard to think of anyone who was deified as a teenager who has survived intact.

When Knopfler was seven the family moved to his mother's home town of Newcastle-upon-Tyne. The sound that defines the best Knopfler songs — rockabilly pop laments with a haunting Celtic undertow — was in the mix right from the start. The Evs, Buddy Holly It goes right back to Scottish country dance music. Uncle Kingsley used to wear a kilt and ask to play his bagpipes. He carried his pipes into action and was killed with them at Ficheux, near Arras, in May , aged He was a man out of time, very interested in time.

When you're 15 you're so full always been a listener and an observer, ingrained with an of yourself and your future. Of course, now I sort of find myself far early love of music and an obsession with electric guitars thanks to more in sympathy with Basil. For some perverse reason, that seemed to suit Beryl. Hilton, Cary, Bratby, these figures flit in and out of my songs.

I've always found it attractive, the demi-monde, people who are living a different kind of a life but just as I've always been attracted to ordinary people who graft, you know. I absolutely believe that. Knopfler started playing in local beat groups and hitching down to London to watch bands. Aged 16, he formed a folk duo with his school friend, Sue Hercombe, earning them a spot on the BBC regional evening news slot, Look North. Droop, featuring future Dire Straits drummer Pick Withers.

There are some specifics in the sense that flipeynicism and brooding paranoia complete album, shifting from wise you can track songs to certain event. Might come back in the afternoon and make another one. A , Rex record was just, capture that song at that time. But I came to enjoy the recording process. Was Making Movies a statement of intent? I suppose. I was trying to make a record that was going to last. Knopfler sighs.

I tried to avoid cynicism. I think we all do, don't we? Singles stopped count- ing for me at a certain point. But single success meant that the record continued to sell so there was huge demand for us to be seen around the world. Then there was the CD thing? Is that the right album? They all combined like a giant snowball. It reached this sort of critical mass. It just got too big. Things do. I'd taken that little four-piece and pushed it up, ex- perimented, and it still wasn't doing it for me.

I wanted to k bea little bit more free. He stopped being an observer and an eavesdropper and began to inhabit the characters he sang about, bringing an empathic warmth and a quietly heartbreaking poetic detail to his character sketches. Sometimes there's a collision between where I am in the world and something I'm reading. With the beautiful Breece Pancake stories, there was the one story, A Room Forever: this one character in this one story.

As to the future, all he's thinking about at the moment is playing these songs live. If they come, I'm going to be trying my best. It's hard to explain what it is, but I think everybody knows what an impor- tant part of my life that is. To me it's the logical end of the big wheel going round. Go to tour. The rest of the Fairports piled into their van. Just north of Scratchwood services on the M1, Fairport's van veered across the road.

Richard Thompson tried to grab the wheel from the group's driver, Harvey Bramham, who had fallen asleep, but the van hit the side barrier and tumbled down an embankment. After the crash, only Simon Nicol was left inside the vehicle, relatively unscathed. Of the rest of the group, Thompson, Bramham and Ashley Hutchings were all injured, but drummer Martin Lamble and Jeannie Franklyn, the young American clothes designer who was Thomp- son's girlfriend, were both dead.

We are all in a state of shock because this tragedy is so unbelievable. She was rambling. My first thought was that it could have been her in the crash. She and Trevor were already pretty tight but that tightened the knot. We bottled things up back then; stiff upper lip and all that. Joe Boyd had even taken test pressings to America. But the crash put everything on hold. He was probably the member of the band I'd got to know least — I think he may have been a bit scared of me.

I needed to get away. I didn't want to become Fairport's spokesperson. So I went to America. In the first 20 minutes I had a large drink spilt in my lap. I just sat there soaking for hours. While the others w "j went to America and Nicol readied Un- "5 2 halfbricking for release, Hutchings spent much of his recuperative time in Cecil Sharp House, learning more about tra- ditional music. If Fairport were to con- tinue, they needed a new repertoire.

Yet Sandy, for one, was uncertain. Most of the old repertoire from the first album had been dumped. If I left, history would repeat ie itself. Those boys need you. They had just been told that Island had scheduled Unhalfbricking for release in late July and Si Tu Dois Partir was to be the advance single.

We didn't talk about the accident but we all felt if we didn't pursue the band, Martin's loss would have been for nothing. That was when she and Trevor really got together. There was needi- ness in Sandy, far greater than any she had before. She had avoided being in the crash thanks to Trevor and because Trevor looked after her it created a dependency on him. The stress of travelling for Sandy was also greater afterwards because she never forgot that terrible crash.

And that may have influenced her to stay with Fairport because that was safe. Even- tually Fairport came to me and said they had decided to carry on but were never going to do the same material again. Music From Big Pink hit London like a ton of bricks that summer and became the sound- track while they were recovering.

So much of what they had done up to then was American in style, looking to Dylan or Joni. You're not American, you're never even going to come close to understanding or interpreting this music. Forget about even trying. Unlike the group's previous albums, it went straight into the charts, where it stayed for two months, peaking at Number 12, while the extracted single, Si Tu Dois Partir, climbed to Number But first, the group had to find a new drummer.

Auditions took place in a pub back room on Chiswick High Street. The eventual recruit, Dave Mattacks, was asked to join there and then. Sandy was very effervescent and bubbly and just had the most amazing voice. I'd not heard singing of that ilk before or singing that good. She was so welcoming. Such an incredible beacon. It was a mammoth step. We were breaking in two new people, but the rest of us needed to get the measure of each other again too.

It was important to work and play together again, and we did relax, kick a ball about in the gardens, just go for walks or go to the local pub and play darts. Normal everyday things like that. There was no strict regime, no set times when we'd start play- ing, sometimes after breakfast, sometimes late into the night.

We never doubted the concept but we did see it as a project. It was not supposed to be the doorway to a new world. It marked the first public appear- ances in Fairport by Dave Swarbrick and Dave Mattacks; Ashley Mec used a baguette to bow the strings of a huge Perspex. In fact it will be almost straight, only electric We're going along a completely differ- ent road now.

It's really put a new breath of life into us. Everybody dipped their oar in. She had great empathy, so she could share the emotion of a phrase with the audience, tell a story, paint a picture, aim the song. She was vulnerable, and that was moving, she could be a girl or a woman, she had a great range too. And technically she was great. The tradition has only one kind of improvisation — decoration — and she was a master of that, weaving little curly bits and ornamentation and playing around the line, beautifying it.

She was able to draw on her harmonic education too. And then she could throw her head back and let go. I haven't seen her like since she died. Maddy can't do it. Shirley Collins can't. The best singers in England have tried and Sandy was the best. She naturally understood how to sing traditional songs and she could translate that into a rock context. Nobody did that better. The spirit of Big Pink encouraged them to delve back into their own basement tapes.

But we'd also return to familiar territory — Dylan, country music, Thompson, rock'n'roll. We were figuring out what we were going to do, and we weren't analysing it. Fare- well, Farewell and Crazy Man Michael address the loss they all felt after the crash. To hear a song I knew from folk clubs take on such power was exhilarating. Nothing like it existed. Lloyd afterwards. Nobody had thought of doing it before. The doubts Sandy was having, and other underlying fears, were now coming to the fore.

For the first time on a Fairport album only one singer is featured. Sandy rises to the challenge, taking us through every emotion after the stirring Come All Ye sets the scene. The manner in which she conveys the reverse fortunes suffered by the protagonists in Matty Groves and The Deserter is quite astonishing.

Matty Groves begins Dave Swarbrick optimistically and ends with the lovers both doomed, while The Deserter goes from sublime sadness to gleeful relish as the condemned man is saved from the gallows. Crazy Man Michael, the first songwriting col- laboration between Thompson and Swarbrick, is delivered with almost unbearable empathy and sensitivity, Sandy at her melancholy best, here matched by Thompson's eerie electric guitar. For the first time in her life she had a settled relationship and she didn't want to give it up.

I could always see her and Trevor get- ting together in a musical partnership. You would hear Sandy and Trevor singing together and it was great — their voices blended really well. She hit a crisis point; I think the decision when it came was quite sudden.

The Birmingham gig was traumatic for everyone and the return journey was almost a silent vigil. Sandy was in tears throughout. But I loved the band and all the guys in it. I loved making music with them. But that night, it got on top of me. When other members of Fairport went to pick Sandy up to go to the airport, she simply wasn't there. In the midst of the turmoil, Sandy met with Joe Boyd to ask him what future she would have if she left the group.

Boyd was caught between wanting her to stay in Fairport and reassuring her that she would have no problem getting a solo deal. He was aware of — and probably excited by — the possibilities of both. In the end, neither scenario worked out. There was never any question of Fairport. Convention not continuing. We'd had the crash, we'd not discussed it, in true English- reserve middle-class fashion, we'd brushed it under the carpet and moved on and we didn't have a mass moment of grief, apart from private grief, where it all came out and we talked about it.

Richard wrote Farewell, Farewell in particular, but basically we tried to move on and then it started to unravel in a delayed reaction which was sparked by Sandy refusing to go on the flight to Denmark. She was scared stiff of getting on the plane and she got drunk, and she wasn't there when we arrived to pick her up. Then she was bundled on the plane by Anthea Joseph and flew out the next day. After I left the band I had dizzy spells and there was a downward path into a minor break- down.

I think they knew she was in a state about it. Sack me? We just sort of did those crazy things and it worked. I know what hap- pened to me; I wanted my own life, which was why I branched out. So they said it would be better if I left. I was already coming to the same conclusion. That would really do me in. Reviews were mostly respectful rather than unreservedly enthusiastic. At best reviewers found the record worthy, and admired what Fairport were attempt- ing.

Sandy played at Les Cousins for the last time in December. Her set that night featured just one new song, The Pond And The Stream, which she would soon record, not as a solo artist but with the new group she was forming with Trevor Lucas. Visit www. No End solo piano version available on Like An Old Fashioned Waltz CD reissue Recorded ona Bechstein concert grand at Walthamstow Assembly Hall on December 3, , this wintry conversation between friends might also be an autobiographical Denny lamenting failed dreams and creative indolence.

The perfect perfor- mance, heartbreakingly prescient, it was inexplicably re-recorded for the album with alush excess of strings. Back then, the writer-producer was in the middle of a decade-long hot streak which included seven Billboard Number 1 singles, three Oscars, two Grammys and the theme song for the Los Angeles Olympics.

His imperium ex- tended across the dancefloor, the multiplex and the upper echelons of the charts. He dated starlets half his age and was snapped by the paparazzi at Los Angeles hotspot Spago, which he christened for his restaurateur friend Wolfgang Puck.

Only the best res- taurants, hotels and first-class flights would do. After slowing down dramatically in the late '80s, he lived in Italy and Paris and considered himself retired from music. He backed out of working with his admirer, Hans Zimmer, on the soundtracks to Rush and Man Of Steel and regretted agreeing to write a song for the Beijing Olympics after an exhausting ordeal involving around different versions.

Clearly the life of a jetset dilettante has been kind to Moroder. At 74, his tanned face is lined rather than wrinkled. His recently regrown moustache, like his swept-back hair, is a lustrous steel-grey. He wears a North Face fleece, black trousers and expensive-looking striped socks. He is Italian — a Com- mendatore of the Order of Merit of the Italian Republic, no less — but says he has an "international" mentality. His voice is instantly familiar from Giorgio By Moroder, the track that Daft Punk fashioned, improbably, from a two-hour interview.

When you come back after 30 years you can risk a little bit but not too much. His earliest memory is the sound of Luftwaffe bombers over- head. In his youth, he dropped out of an architecture course and spent an enjoyable few years playing up- right bass around Europe in a nightclub trio. That was the day I decided that's it.

In Berlin and later Munich, Moroder was a hungry oppor- tunist who dabbled in styles including schlager, the naff German version of bub- blegum, which he hated. In a YouTube clip of the lushly moustachioed Moroder per- forming his solo hit Looky Looky, he is the epitome of swinger chic. Moroder was saved by a synthesizer. Moroder sent it to Neil Bogart, president of New York-based Casablanca Re- cords, who loved it so much that he " demanded a side-long extended Ru version.

It went platinum, giving Moroder the big break he had craved for so long. I thought, OK, I've made it. Now everything is easy. If that one works the rest is a piece 4 of cake. I must admit Neil Bogart helped alot. He wasa genius at promoting. Like many synth-lovers, they tried to predict the sound of things to come; unlike most, they actually got it right.

I wanted to make a song with everything played by a synthesizer. When we mixed it the engineer came up with a delay, which at that time was completely new and very difficult to use, and I said, Wow! Bowie, Eno and Nile Rodgers all heard the way forward in its sonic Escher staircases. Italo, trance and EDM proved them right. As Kraftwerk were stately and deadpan, so Moroder brought sweeping drama, emotional extravagance and thrilling velocity to electro pop, his productions hi-tech fantasies of a grander, shinier world.

Summer's new label boss, David Geffen, replaced Moroder with Quincy Jones, but the producer was already moving on. I knew that I could do much better. I thought if I can do bubblegum and I can do disco then I can do something else, too. Parker wanted something like I Feel Love for a chase se- quence Moroder obliged, to the letter, with Chase but other- wise gave him free rein.

The score brought synthesizers to the big screen and earned Moroder his first Oscar. He loved what I did but ' he said in one scene can we get an oboe player? I can give you an oboe. He's a darling! He worked with Bruckheimer and his sometime partner Don Simpson on five movies, from American Gigolo to Top Gun , spearheading the synergistic trend of promoting blockbusters with massive hit singles.

He dealt with big money and big personalities. He was clean, attentive, he was there. Don Simpson came in full of drugs and left full of drugs. It was incredible. And Neil Bogart! His Scarface soundtrack, enduringly popular with rappers, is basically audio cocaine. But Moroder was a Bruck- heimer rather than a Simpson. He never touched the hard stuff. I would work from noon to six or seven, then I would go home and the musicians would finish the song.

Little did I know that that's when the party started and it went on 'til six in the morning. Oh God! Two or three ended up in rehab. You cannot do a song in three takes because it takes me 15 takes on every scene. Why would we do it again? What a Feeling, were US Number 1s.

He admits to disappointments — a washout Janet Jack- son album, a divisive all-star rescore of Fritz Lang's Metropolis — but his strike rate was formidable. What's really difficult is getting the best from a singer. I think my strength is prob- ably to have them sing it the way I want. It's a lot of stress. He turned down Duran Duran and aban- doned sessions with a-ha after they spent the first day fighting. Then there was Bob Dylan. Sylvester Stallone wanted Dylan for the Rambo soundtrack and sent Moroder to the singer's Malibu home with a demo.

Easy come, easy go. He'd spent enough time in recording studios already. I wanted to do something different. If you don't like them it's not easy to write something. So it's surprising that he was tempted to make 74 Is The New 24 at all; even more so that he's approached it with such gusto.

You might think that at this stage any further success would be a bonus. Moi Non Plus as anautoerotic solo outing,turnedintoan intense slow-burn disco epic by Moroder. With its melancholy Kraftwerk mid-section, and lyrics delivered as sinister giallo monologue, the track was the blueprint for much of Yello's steel-and-glass '80s disco. The first single off No. In contrasttothe upfront machine groove "T authored tracks, Call Me uses trademarked techniques and inventions - marching synth rhythms, peaking female sighs, that Evolution guitar riff — in the service of Blondie's new wave pop cool.

Brian Wilson of The Beach Boys was filmed for the end summary performing a new collabora- tion with Van Dyke Parks called Surf's Up, a plea for the establishment to listen to the socio- logical concerns of the coming generation. As such, it is a symbol of the change many of these young musicians see in our future. Taking off from the modular songwriting concept pioneered on lead single Good Vibra- tions, Smile would shift from minimalist to grandiose, farmyard to swelling ocean, geogra- phy and spirituality visualised in sound that — ES.

Summer Days And Summer fortunes. One reason behind this new-found maturity was pharmaceutical. That creative momentum ended when The Beach Boys sued Capitol for back royalties in March in an attempt to start their own label, Brother Records. Then Brian lost confidence in his own creativity. The fate of follow-up single Heroes And Villains hung in the balance while Capitol and group came to a legal agreement: Brother Records distributed by Capitol.

Wilson at the F aaish; All in the US. The other notice- health conscious. We poked fun at each other a lot; how we looked, how we felt. It was all self-centred [but] kind of altru- istic too. We really were concerned about able change was a label credit. The band removed themselves from the production race.

Smile on June 7, , recording the first Cool Water chant. The Beach Boys were also polish- ing off an interesting "live album" there, Lei'd In Hawaii, which made it all the way to sequencing, sans fake crowd noise, before being canned. And from this point, there were no more Capitol memos referencing Smile.

Brian later brought the Can't Wait Too Long tapes back to his home studio, and with outside musicians got them to a nearly-complete state in July That summer, he also made a private home recording of Sail Plane Song, achieving Smile trippiness with just piano and sound effects. But it was just fun to have some qual- ity time with Brian.

He was into it and I was into it. Some of those songs, like Friends, involved all of us writing. We were not competing with our- selves like [with] Good Vibrations and Pet Sounds. It was a more relaxed songwriting era. With the group contracted for one more album, they and Capitol had grown weary of one another. Yet there was no immediate follow- up. We had to find things that Brian had worked on, and try and piece it together.

Other band contributions counteracted Brian's new reticence, and engineer Stephen W. Desper provided the group with an ex- pansive stereo sound for the first time. Previously, Brian had re- corded in mono, with Friends having a more basic 8-track stereo mix overseen by Carl. The group jumped to track when they installed a new studio in Brian's home during October and assembled more than enough material for a double album.

For a band who'd mentally regrouped, it was a major disappointment. They didn't know what to do next. Then he pulled his major coup when he got Brian to agree to finally release Surf s Up. As well rebranding the band in the America of the early 70s, he inspired band members to write about their con- cerns, with the artiness they'd left behind for simplicity after Smile.

The results were Carl's best moments, as he took full leadership of the band. Morgan in an undated "70s interview. As far as the critical acclaim or sales Since Brian's stage departure in , bass guitar had always been shared by band members. Now, Flame's Blondie Chaplin filled the role, his lead vocals a valuable new studio ingredient. Yet, although it was cut at his home studio, and featured three of his songs, Brian was all but absent, just adding background harmony on his own songs, and piano on You Need A Mess Of Help Io Stand Alone.

We all embraced that message. However, Brian was spending more time in his bedroom, and when the mood struck, walking downstairs to record demos that he'd then hide from the group. Melcher referred to this as Brian's "Aesop" period, be-. I went with Ua. Having the ensuing years, since he has taken to touring - both under hisown name and as part of the surviving band- with something approaching enthusiasm. Or soit would seem.

Does he find he actually enjoys travelling around the world now? He tends to offer stop-start responses and sometimes seems thrown by even the most straightforward enquiry. MOJO tries to avoid questions where he can reply with a blunt yes or no, but conversa- tional flow is tough to maintain.

How is it, MOJO wonders, to see himself portrayed onscreen by not one, buttwo actors? Didthose parts of the film depict the sessions as Brian remembers them? And felt depressed that now l'm 72 years old, right? In another, drummer Hal Blaine declares Wilson to be more of a creative genius than his other paymaster, Phil Spector.

Didbothincidents actually happen? But Hal was kidding. He was kidding Marilyn and Diane were Spring, but Brian's high harmonies were a prominent feature, as if he were the third member of a girl group. Then, on the eve of completion, Brian put the kibosh on the project. It was a bitter pill for Carl to swallow. Mean- far distant '60s. He was returning Pressure. Blondie Chaplin. But following But they're still very much Mike Love's announcement that friends, aren't they? But then the uplifting part, Brian knowledge - it seems that the smile playing on his lips.

I said, Brian, can you put your part group's existence remains in doubt. We got it on about two tries. That's recorded during the Sunflower sessions in classic harmony mode, completely blown away. I had to write about it. So when we came home [we] recorded Sail On Sailor. You'll hear the difference, because the studio in Holland was des- perately underwhelming in terms of professional recording.

For a moment, the band were at one with their times. With no new studio album in sight, the group's presence was reinforced through appearances on Charles Lloyd's T. As Brian's home demos were stockpiling, the band's concert receipts kept growing. The band saw a chance, and late in , Brian was seques- tered with hour therapist Eugene E.

Originally hired by Brian's wife Marilyn, Landy was fired after about a year because of escalating fees. Tagged as Brian's full return, 15 Big Ones was, in fact, a bit of a sham. The LP was originally intended as a double, with one album of covers and another of new songs. A wealth of material was cut but Brian was not in good voice, which became obvious to the general public when he made a solo appear- ance on Saturday Night Live on November 27, He used that, throughout that era.

He just got fixated on it. Quirky, with odd time-shifts, clever chords and often beautiful melodies, The Beach Boys Love You was another acquired taste. Brian's singing remained poor, and Roller Skatin' Child and Honkin' Down The Highway weren't songs any radio station would be playing soon; yet there was an endearing isolation to his compo- sitions, Brian singing about outer space with the wonder of a child. And I proceeded to make the album that never came out. Dennis and Carl argued that the 15 Big Ones direction was a dead end, and felt the group should return to the experimental sound canonised on 's live double The Beach Boys In Concert.

Mike and Al voted for nostalgia. Brian's casting vote, possibly against his own best creative interests, went with Love and Jardine. After stymieing Carl's work on Smile in , Brian had now inadvertently ended his brother's leadership of the group. Album tanked at Their first CBS release, L. Tickets from www. Love And Mercy is in cinemas June 7. The audience wanted U2. But for Gorillaz the atmosphere was flat, the crowd thinned out alarmingly, and Albarn believes he could have remedied the situation with one simple gesture.

I regret that, because it would have been a different outcome if I had. The gig we did later at Roskilde I did talk to the audience and it was fantastic. I would much rather it had been on the record and Crazy Beat hadn't. That was one of the last times that I actually let outside influences affect what I put on a record.

Of course we should have put it on. You can keep learning from your mistakes. Listeners could only guess at the reasons behind such subter- fuge. By now, Damon Albarn had been the singer, songwriter, principal theorist and all- purpose motivator in Blur for nearly 15 years. Throughout it all, as others doubted and wobbled, Albarn clung steadfast to his vision, while also possessing enough flexibility and perspective to recognise when he'd been wrong: most notably that 's The Great Escape, although commercially expedient, represented creative stasis.

Subsequently repurposing Blur into a vehicle for his increasingly introspective song- writing enhanced the band's artistic credentials without diminishing their popularity. As Oasis, arch-nemesis in the Battle Of Britpop, crashed and burned, Blur made their real great escape: into art. In he visited West Africa as an Oxfam ambassador and returned with 40 hours of recordings he'd made with local musicians in Mali.

On the day sessions were due to start at Albarn's west London Studio 13, Coxon entered a rehabilita- tion programme at The Priory. What happened next remains contentious. Subsequent comments from band members muddied the picture. In the Blur docu- mentary No Distance Left To Run, drummer Dave Rowntree stated that what they had asked Morrison to say to Coxon and what he actually had said were two different things.

So I think he was very careful not to say that. He said it was very much for the time being. I took the leap myself. And I got on with my life. Aside from the awkward Fatboy Slim-produced Crazy Beat, a self-conscious update ofthe Blur familiar to the man on the Clapham omnibus, the album reflected Albarn's burgeoning immersion in music rooted far beyond Blur's traditional UK-centric post-punk idioms.

It was released in May , to positive reviews. An accompanying world tour, however, with Simon Tong and Albarn fulfilling the guitar quotient, made the Graham-shaped hole in the band glaringly clear. I didn't have a guitarist. I mean, I had a great guitarist, but not Graham. Playing any of the old stuff was awful.

Which of course he was: by the firm belief that he would never make another Blur album. On one side, the ungainly urban scramble of North Kensington: housing estates, light industry units, a hospital, rail tracks, Worm- wood Scrubs, the Westway. Towering cranes in the foreground allude to the area's latest building development.

And my light. Ah, never mind. Identity would become the theme of the group's rollercoaster apprenticeship. Who were Blur and what did they want? About a quarter of their live set was like that. Debut single She's So High - the highlight of their demo tape - was engagingly louche psych pop but its AA side, Know, groped for something more flagrantly vogueish.

But Blur were already bridling at their label's obsession with dance beats. Alex had all these mad old records he'd inherited from his grandad. EMI were, to be fair to them, a bit more sceptical. But we were so confident that we had the follow-up - a song called Never Clever — ready to go. Worse, Suede, headlining the show, were magisterial. The only way Blur appeared likely to revalidate themselves was with new music. Luckily, demos suggested they were onto something, something nurtured inthe crucible of the spring's gruelling US jaunt.

Songs like Oily Water. They sound like young men, as opposed to floppy and half-awake on the versions they chose. Passive aggression, and not-so- passive aggression, between Graham and Damon. You haven't done it with a computer! I want it done with loops and everything! EMI would have pulled the plug on the marketing and Blur would have been dropped. They were hanging bya thread. If says Balfe. It had thickened their skins and sharpened their reflexes. He smiles. Albarn has already turned the opposite window's less celebrated vista into a Blur song: in summer , as a prelude to headlining the Best Of British Olympics Closing Concert at Hyde Park, the quartet released a single, Under The Westway — a hymn to London, possibly also a person, or maybe even a group.

It was the latest manifestation of a reunion which had thus far delivered 's emotional performance at Glastonbury, the no less emotional No Distance Left Io Run film and a limited edition 7-inch single for 's Record Store Day.

Each spasm of activity dared the band's long- suffering fans to hope that everything was gearing up to a new Blur album, made by all four band members in full working order, there- by casting the anomalous Think Tank into shadow.

One of those assumptions fell as soon as the following spring, as Blur began a tour of festivals and enormodomes in North, Central and South America, in the Far East and Europe. Albarn didn't listen back to the five-day session, returning instead to his Africa Express adven- turing. Then he immersed himself in making his first f bona fide solo album, Everyday Robots.

Albarn was still recording vocals less than a month ago. But they do have artwork and a title: The Magic Whip. Albarn murmurs in assent. I felt it was lovely that he was prepared to give time to this thing. So there was obviously a bit of making amends. Actions speak louder than words. But yeah, that was the last time we were steady on our bicycles. It was a different world. Pop music was so different to how it is now. I always end up having this conversation in one form or another with Noel [Gallagher] when we have a drink together.

We seem so different to the Ed Sheerans of this world. Oasis and Blur — it was our lives. That's all we had. Because it's such a wonderful thing to do when you're young. The pair met at Stanway Comprehensive in early '80s Colchester.

Their first musical dabblings soon went beyond school revues and into prototype bands: The Aftermath, Real Lives, Circus. The symbiosis evident even at this stage would sustain throughout their creative life: after Damon had insti- gated a chord sequence, Graham would take it somewhere.

On Think lank, Coxon's presence was felt even when he wasn't there, as producer Ben Hillier realised. The hardest thing work- ing with a really creative mind like Da- mon is making them finish anything. Graham has got a lot more of the craft gene in him. Coincidentally or not, this move reacquainted Blur with its art school grounding and, allied with Albarn's discovery of music as a means of inner exploration — a revelatory period that he's since admitted was aided by heroin — produced arguably Blur's most enduring music, on Blur and So it's telling that Coxon felt it was incumbent on him to make amends, as if guilty that the band had indulged his foibles while get- ting too little in return — a cloud of resentment that finally broke at Paul Postle, Camera Press 2 , Nels Israelson, Tom Oldham 82 MOJO the early Think Tank sessions.

Y'know, in those years since early , I probably said K afew stupid things in the press — because the circumstances of why i B we weren't together as a four-piece were quite unclear. Things were just tense. We were all raw and hurt by it, for quite a while.

And the longer it was left, that stuff ferments, and the more difficult the idea was of coming to- gether, or being just friends again. Everything was going through management and we all had our own lives, our own problems. Perhaps I was. But whatever happened between and probably did us a lot of good. If Blur had carried on as we were, we'd all have been severely damaged by it.

To get hold of those Hong Kong tapes and knock them into shape, to take the weight of responsibility on my own shoulders and make amends. Alex James and Dave Rowntree dropped in to redo their parts where necessary. The moment of truth came when Coxon and Street played Albarn what they had done.

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