Showing posts with label rock. Show all posts
Showing posts with label rock. Show all posts

Wednesday, 9 September 2026

По волне моей памяти

by David Tukhmanov

Fifty years ago, there was no Soviet disco that wouldn’t play the impossibly catchy «Из вагантов» (From Goliard Poetry). I had no faintest idea who goliards were, and it seems that neither the composer nor the singer did. Another thing I didn’t know at the time was that this schlager came from a freshly released LP «По волне моей памяти».

A few years later, I finally heard it as a whole, once again, thank to my cousin who brought the vinyl to our house. My I was impressed, expecially by Good Night sung entirely in English. Three more songs included verses in a foreign language: French in Sentimental Journey, German in Heart, my Heart, and Polish in Dedication in the Album*. I didn’t expect that from a composer of patriotic songs like «Мой адрес — Советский Союз» (My address is the Soviet Union) and «День Победы» (Victory Day). Cool.

Somewhat disappointedly, the title track did not have any Spanish in it. The original poem by Nicolás Guillén, as I just learned, is called Agua del Recuerdo. Maybe it’s not the Russian version of it (the only one I knew until now) as such but its interaction with the tune that makes me cringe. Which is a shame really because the music is magical. Who plays the flute, I wonder?

Then again, the whole album is magical, and has to be listened to non-stop from the beginning to the end many times in a row. Every song has a twist or three in it. Whether it is a journey from soul-funk to baroque and back in Heart, My Heart, followed by a reprise of the jazz-rock theme from the opening track, or the psychedelic From Sappho, 2.5 millennia later reimagined as Confusion which also quotes from Sentimental Journey — you can’t help wondering what else is hidden there and wanting for more.

Alas, more was not to be. «По волне моей памяти» stands as sui generis in Tukhmanov’s discography. It was not the first conceptual art/prog/any rock album made in the USSR — Alexander Gradsky recorded «Размышления Шута», also based on classical poetry, a few years before — but it remains the most influential Soviet record of the 1970s, and definitely Tukhmanov’s best.

По волне моей памяти On a Wave of My Memory
I сторона Side A
  1. Я мысленно вхожу в ваш кабинет (Максимилиан Волошин)
  2. Из Сафо (Сапфо, перевод Викентия Вересаева)
  3. Из вагантов (ваганты, перевод Льва Гинзбурга)
  4. Приглашение к путешествию (Шарль Бодлер, перевод Ирины Озеровой)
  5. Доброй ночи (Перси Биши Шелли)
  1. I Step into your Study in my Thoughts (Maximilian Voloshin)
  2. From Sappho (Sappho, translation by Vikenty Veresaev)
  3. From Goliard Poetry (translation by Lev Ginsburg)
  4. Invitation to a Journey (Charles Baudelaire, translation by Irina Ozerova)
  5. Good Night (Percy Bysshe Shelley)
II сторона Side B
  1. По волне моей памяти (Николас Гильен, перевод Инны Тыняновой)
  2. Сентиментальная прогулка (Поль Верлен, перевод Ариадны Эфрон)
  3. Сердце моё, сердце (Иоганн Вольфганг Гёте, перевод Вильгельма Левика)
  4. Смятение (Анна Ахматова)
  5. Посвящение в альбом (Адам Мицкевич, перевод Семёна Кирсанова)
  1. On a Wave of my Memory (Nicolás Guillén, translation by Inna Tynyanova)
  2. Sentimental Journey (Paul Verlaine, translation by Ariadna Efron)
  3. Heart, my Heart (Johann Wolfgang von Goethe, translation by Wilhelm Levick)
  4. Confusion (Anna Akhmatova)
  5. Dedication in the Album (Adam Mickiewicz, translation by Semyon Kirsanov)
    Музыка и аранжировка Давида Тухманова
    Литературный материал подобран Татьяной Сашко
    Music composed and arranged by David Tukhmanov
    Literary source selection by Tatiana Sashko
    Борис Пивоваров — гитара
    Аркадий Фельдбарг — гитара-бас, скрипка
    Владимир Плоткин — ударные
    Давид Тухманов — фортепиано, орган, синтезатор, электропиано
    Boris Pivovarov: guitar
    Arkady Feldbarg: bass guitar, violin
    Vladimir Plotkin: drums
    David Tukhmanov: piano, organ, synthesizer, electric piano
    Mehrdad Badie: vocals (1, 5)
    Natalia Kapustina (Natasha Shneider): vocals (2)
    Igor Ivanov: vocals (3)
    Alexander Byrykin: vocals (4)
    Vladislav Andrianov: vocals (6)
    Sergey Belikov: vocals (7)
    Alexander Lehrman: vocals (8)
    Liudmila Barykina: vocals (9)
    Sound engineer: Nikolai Danilin
    Cover design by Alexander Schwartz

* In this track, the first half is sung in Polish and the second in Russian.
The singer’s name was not listed on the album cover because of her emigration to the USA.
The singer’s name was not listed on the album cover because of his emigration to the USA.

Thursday, 25 June 2026

All You Need Is Love

by The Beatles
— Will that do? ——— Oh yeah, and The Beatles.
— The Beatles, said Jimmy.
— Money for jam, said Joey The Lips. — ALL YOU NEED IS LOVE —— DOO DUH DOO DUH DOO.
— Was tha’ you?
— Indeed it was me, Brother. Five pounds, three and sixpence. A fair whack in those days. ——— I couldn’t stand Paul, couldn’t take to him. I was up on the roof for Let It Be. But I stayed well back. I’m not very photogenic Brother. I take a shocking photograph.

Hey, it’s official:

Now, in a major milestone for the celebration, Apple Corps Ltd, the company founded by The Beatles to manage their creative and business ventures, has formally acknowledged Global Beatles Day.

And more:

On 25th June, alongside online and in-person events around the world that celebrate the band, The Beatles will also release a colourised version of their BBC Our World performance of “All You Need Is Love” for free on YouTube. The first time the iconic performance has been made available online, it will celebrate the iconic performance’s anniversary, mark Global Beatles Day, and give fans around the world the chance to relive that spectacular, global moment from 1967 and share their reaction in the live chat.

“The first time”, really? I’ve seen it before, black and white as well as “colourised” (although I prefer the B&W version). For free.

But of course I’ll be watching it anyway, in a hope to catch a glimpse of Joey The Lips Fagan playin’ DOO DUH DOO DUH DOO on his Gina.

Sunday, 31 May 2026

(Almost) free live music and stuff, May 2026

Some stuff that I saw in Vitoria, Santander, Torrelavega and Las Palmas de Gran Canaria.

  • 9 May: «Cenizas de Oro» @ Centro Cívico Langraiz-Oka, Tres de Marzo Parkea, 1, Nanclares de la Oca / Langraiz Oka
      A comedy by the amateur theatre group No Me Claves Tus Puñales. Not exactly free as €2 donation (for an NGO to be determined) was requested, but quite worth it.

  • 15 May: Cantabria en Corto 2025 @ Filmoteca de Cantabria Mario Camus, Calle Bonifaz, 6, Santander
      The programme included Relato del niño que estuvo allí by Sergio Ruiz García; Solo es cuestión de tiempo by Carlos Martínez Pérez; “Solo los muertos se quedan by Alejandro Renedo; Una playa by Juan Carlos Cabañas Soto and Luis Paredes; Instrucciones para quedarse by Caque Trueba; and Wounded Light by Abril Catalina Beascoechea.

  • 16 May: V Raw Market @ Plaza Mayor, Torrelavega
      Organised by Escuela de Arte Roberto Orallo (Puente San Miguel, Cantabria), this annual event allows the students of the school to present and market the work created during their training. The highlight was a concert of Cantabrian rock band The Haze.

  • 24 May: Ajódar Poetry Jazz @ Sala Faro, Calle Concejal Manuel Rodríguez Costas, 1, Las Palmas de Gran Canaria
      The only event of the Deriva Jazz Timur and I attended. We were not impressed. Ajódar Duo, whose members did not bother to introduce themselves, played some jazz (badly) and recited some poetry (worse). On the brighter note, we have discovered a new venue in just a five-minute walk from us.
  • 26 May: «Gran poder a de mandar o mar et todo los ventos» @ Casa de Colón, Calle Colón, 1

  • 28 May: «Tiempo de Zafra» @ Auditorio José Antonio Ramos, Parque Doramas
      La Banda Sinfónica de Las Palmas de Gran Canaria featuring Domingo Luis Rodríguez Oramas “El Colorao” on timple and voices of Tania Gil and Pedro Manuel Afonso. The concert included a performance of Zafra, a work for timple and symphony orchestra composed by Laura Vega.

And exhibitions:

  • 7—31 May: «Color, memoria y gesto» @ Sala de Exposiciones Mauro Muriedas, Calle Pedro Alonso Revuelta, 5, Torrelavega
      Works by Débora Regalado and Alejandro Mesurado.

  • 8 May — 5 July: «Wetlands» @ El Palacete del Embarcadero, Muelle de Calderón, Santander
      Works by Paula Santomé.

Goodbye, May.

Tuesday, 19 May 2026

So

by Peter Gabriel

The only record of Peter Gabriel I ever owned on vinyl was manufactured in the USSR and entitled simply «Питер Гейбриэл» (apparently, they weren’t so sure how to translate So to Russian, and the spelling «Гейбриэл» must have looked innocent back then).

I also had a curious double compilation album Greenpeace Breakthrough (1989) which included the So opener «Красный дождь» (Red Rain). I completely forgot that, in addition to Peter Gabriel (now as Питер Гэбриэл), it featured Sting, Grateful Dead (Грейтфул Дэд), Sade (Шаде) and Dire Straits (Дайер Стрейтс)!

About the same time, I first spotted Sledgehammer and Big Time music videos on 2×2, the first commercial TV channel in the USSR. Man I was impressed.

The covers of the So songs abound. I love Sledgehammer by Morgan James...

...and Mercy Street by Rosegarden Funeral Party.

But nobody makes Peter Gabriel covers better than Gabriel himself, with a little help from his friends. My favourite So re-interpretations are Don’t Give Up as a duet with Tracy Chapman...

...and In Your Eyes with Youssou N’Dour, Angélique Kidjo and Soweto Gospel Choir.

Sunday, 17 May 2026

Rising

by Rainbow

If I had to choose one record from not-that-large Rainbow’s discography, that would be Rising. (Sorry, Difficult to Cure, my first Rainbow love.) I still remember the first time I read about this album («Радуга восходит») in the tremendously popular Soviet magazine Ровесник:

Наверное, это лучшая пластинка Ричи Блэкмора до сих пор. Не то чтобы она содержала какие-нибудь музыкальные откровения (единственное, возможно, исключение — «Старгейзер»; Блэкмор говорит, что первоначально написал ее как пьесу для виолончели). Главное достоинство диска — необыкновенная мощь и динамизм. Образно говоря, он сделан в нокаутирующем стиле, вполне достойном страшного костистого кулака, изображенного на обложке. «Мы записывали этот альбом около десяти месяцев, и у меня нет причин быть им недовольным», — сухо заметил Блэкмор по поводу успеха пластинки.
Геннадий Быков, «Радуга Ричи Блэкмора»

Even then I couldn’t agree with the author of this publication. What did he mean saying “not that it contained any musical revelations”? Even without Stargazer — oh blasphemy! — there are enough revelations for a dozen of rock albums.

Rising is one of those albums that are best on vinyl. Why? Because there are two sides, that’s why. The epic Stargazer is not the fifth track — it’s the first track on Side B. You can’t really listen to it properly just after Do You Close Your Eyes. You have to flip the record, and, better still, use the intermission to refill your cup/mug/glass. And then, when A Light in the Black is done, flip it back to Side A (refill the cup etc.) and listen to Tarot Woman — another epic. Also, as it is the case of In the Court of the Crimson King, the cover art it totally worth it. That fist, it has to be that big. If I ever own a turntable again, Rising and ITCOTKC will have to come with it.

So far, I didn’t hear any Rising song cover that would beat the original. Still, there are some good ones. My favourite Stargazers are that by Cincinnati Vampires featuring vocals of Melody Cristea and fantastic Kalonica Nicx on drums, and another one by Contra Bass, a kids band from Vinnytsia, Ukraine. It’s nice to see young people playing decent music.

Friday, 1 May 2026

Free live music and stuff, March—April 2026

Some stuff that I saw in Valencia, Las Palmas de Gran Canaria and Vitoria.

  • 15—19 March: Las Fallas de Valencia, various locations
      This year, compared to the first time I’ve been to the Fallas, I was able to see more and better, thanks to the weather. Even so, I spent most time away from the crowds in the centre, lost in the barrios of Benimaclet, Cabañal and Malvarrosa.

      More photos of Las Fallas @ Shutterstock.
  • 31 March: «Grito de Mujer 2026» @ Casa de Colón, Calle Colón, 1, Las Palmas de Gran Canaria
      A part of the worldwide festival Grito de Mujer. With the participation of Proyecto Interculturalízate, a group of migrant women (with musical collaboration of the Thioune Brothers); writers M.ª del Pino Marrero Berbel, Rosario Ibrahim, Rubén Mettini, Pepa Molina, Carolina Landino, Bönaí Capote and Aghlahoum-Poeta saharaui-Tinduf; singers-songwriters Sara Brito, Daniel Cano, and Virginia Ruiz “La Niña de la Calle”. Presented by Ana Cendrero González.

  • 8 April: «Somethin’ Stupid» @ Palacete Rodríguez Quegles, Calle Benito Pérez Galdós, 4, Las Palmas de Gran Canaria

  • 10 April: «Sinfonía de sinfonías» @ Plaza del Pilar Nuevo, Las Palmas de Gran Canaria
      The final performance of the graduates of the Advanced Conducting Programme (the class of Dr. Ignacio García Vidal) based in the Canary Islands, with La Banda Sinfónica Municipal de Las Palmas de Gran Canaria. Unfortunately the show was interrupted by rain just when the second part started. This is what we heard:
      • Ludwig van Beethoven, Egmont: Overture — conducted by Óscar Manuel Sánchez Benítez
      • Nikolai Rimsky-Korsakov, Scheherazade I. The Sea and Sinbad’s Ship — conducted by Anna Kucherenko Parikova
      • Rimsky-Korsakov, Scheherazade III. The Young Prince and the Young Princess — conducted by Javier López Peña
      The full programme of the concert as it was intended is available here.

  • 18 April: «Puto amor» @ Centro Cívico Langraiz-Oka, Tres de Marzo Parkea, 1, Nanclares de la Oca / Langraiz Oka

  • 25 April: A Contra Blues @ Plaza de la Provincia, Vitoria-Gasteiz
      A fantastic band featuring Jonathan Herrero (lead vocals, acoustic guitar), Víctor López (drums), Héctor Martín Díaz (electric guitar), Matías Míguez (electric bass) and Alberto Noel Calvillo (electric guitar) was performing as part of the Fiestas de San Prudencio. I liked their originals but I was most impressed by the covers of Sinnerman and Triana’s En el lago.

And exhibitions, all in Las Palmas de Gran Canaria:

  • 27 February — 27 March: «Hacer(se) Tierra. Arquitectura del arraigo» @ Centro Cultural CICCA, Alameda de Colón, 1
      Paintings from the collection of La Fundación La Caja de Canarias, including works by Miró Mainó, Alberto Manrique, José Comas Quesada, Pedro del Castillo Olivares and Juan Betancor.

  • 5 March — 10 April: «Prohibido Escuchar» @ Centro de Artes Plásticas (CAP), Calle Colón, 8
      A project by Anarcos and Rosa P. Almeida, with invited artist Pedro Déniz.

  • 19 March — 30 August: «ART AL QUADRAT. Memorias colectivas / Represiones cotidianas» @ CAAM — San Antonio Abad, Plaza San Antonio Abad
      Works by the Valencian arists Mónica and Gema del Rey Jordà, aka Art al Quadrat.

Bring on May.

Thursday, 2 April 2026

Presence

by Led Zeppelin

50 years on, Presence remains the most underrated Zeppelin record. After the grandiosity of Physical Graffiti, it’s refreshing to hear the stripped-back band, perhaps at its heaviest. It’s a shame that in its day most of the album never made it to the stage. A performance of For Your Life from the Ahmet Ertegun Tribute Concert, with Jason Bonham on drums, gives a glimpse of how Presence could have sounded live. But the legacy lives on. Among not that many covers, Tea For One by Joe Bonamassa and Nobody’s Fault But Mine by Baldassarre’s Soul of Zeppelin stand out.

Speaking of covers: I find the cover art (just like that of Wish You Were Here, also by Hipgnosis) uninspiring and having nothing to do with the the album’s music.

Tuesday, 10 March 2026

Paul McCartney and Wings: One Hand Clapping

a film by David Litchfield

A 1974 rockumentary featuring Wings at the height of their powers, lovingly restored and released 50 years later. With Paul, Linda, Denny Laine, Jimmy McCulloch, Geoff Britton and Howie Casey. A joy to watch from beginning to end. The highlights, if you need any, include Live and Let Die and any bits where Macca sings solo accompanying himself on the piano.

Friday, 28 November 2025

A Night at the Opera

by Queen

Squeezed uneasily between Sheer Heart Attack (IMHO the best Queen album, period) and A Day at the Races (the first Queen album I heard in its entirety so I can’t be objective), A Night at the Opera is that proverbial “second part of the trilogy”: grandiose but ultimately disappointing. Besides, it has a fatal flaw, for a prog-rock record anyway: a hit song that everybody knows, to the detriment of the rest of the album. (You might recall I said the same about Machine Head, and I’ll say it again.) Luckily for those of us who still listen to rock albums in correct order, you can stop it right after Good Company. Try it.

The opener, Death on Two Legs, is a diss track par excellence. I loved it before I could understand the lyrics. (Now that I do understand it, I prefer Rata de dos patas.) I’m in Love with My Car is a great number by Taylor (is that the “open car” he was asking for in Tenement Funster, I wonder). ’39 is a space shanty all future astronauts should learn in kindergarten. The Prophet’s Song is an epic. Cheesy lyrics notwithstanding, You’re My Best Friend actually has got soul — check out the Astro Samurai cover for that soul dimension. The same could be said about Love of My Life, except this latter practically asks to be made fun of by a barbershop quartet. This Russian-language parody from the 1986 Soviet TV show «Весёлые ребята» does just that.

My favourites though are the three retro songs (they were retro already 50 years ago): Lazing on a Sunday Afternoon, Seaside Rendezvous and Good Company.

As for Bohemian Rhapsody, it fared really well for a single, so I think that’s how it should have stayed. Perhaps naming a 2018 biopic after it was not the best idea but it perfectly illustrates that by now — and this “now” has started long time ago — it’s more a cultural reference than a song. There are zillions of covers but for me the Father Noel Furlong’s version and that by Chirigota Los Quemasangre are the best.

Friday, 7 November 2025

Come Taste the Band

by Deep Purple

Isn’t it curious how, 50 years later*, the only Mark IV studio album still manages to divide Purple fans. Is it, or is not, DP? Why it shouldn’t be DP? Come Taste the Band could (or should) be called pioneering for being the first album in Purple discography not to feature Ritchie Blackmore. It’s not Machine Head, and thanks for that. It did not spawn any stadium hits à la Smoke on the Water — ditto.

I myself didn’t quite dig CTTB upon first hearing, some time in early ’80s. The fact that I heard the atrocious Last Concert in Japan first must have contributed to my initial prejudice towards Tommy Bolin. But why? Poor Tommy couldn’t even play on Last Concert in Japan, not with two hands anyway. Forget it. On CTTB, Bolin shines through and through. Re-listening it now, I realise how ahead of the time this record was.

The title is, of course, a portmanteau of the famous Cabaret lyrics. My favourite tracks are Gettin’ Tighter, This Time Around/Owed to ‘G’ and You Keep On Moving. The 35th Anniversary Edition (why not 30th or 36th, I wonder?) does not provide much in terms of extra material. The second CD (2010 Kevin Shirley Remix) is a refreshing alternative worth listening to... before you go back to enjoy the “original” version, in this case, CD1 (i.e. 2010 Digital Remaster). If I owned a turntable, a space to house it, and £105 to spare, I’d go for the real thing, not least because of its gorgeous cover art.


* Wikipedia says, in the same article, that the album was released on 10 October 1975 and on 7 November 1975. This cannot be right. According to the BPI database, Come Taste the Band was certified silver on 01.11.1975, six days before its release on 07.11.1975.

Friday, 12 September 2025

Wish You Were Here

by Pink Floyd

My brother and I first heard Wish You Were Here relatively late, in early ’80s, already after The Wall. Like most of Western music at the time, it came on magnetic tape reel. It was a good quality recording (chromium dioxide tape, 19 cm/s, directly from vinyl) that turned out to be an exceptionally good quality recording. By the beginning of the title track my brother temporarily left our (tape recorder-hosting) room and went to the kitchen. Then I heard him shouting, “Will you quit plinking!” — obviously at me, as we were alone in the house at that moment. As flattered I was, it wasn’t me. It just so happened that Gilmour’s acoustic guitar in the intro sounded very similar to mine. I myself wouldn’t dare to play along the song I heard for the first time in my life. That’s how good the tape was.

There was nothing to grow on me: it was a love at first hear. WYWH dethroned all other Pink Floyd’s albums, even The Dark Side of the Moon. By contrast, the cover art, when I finally saw it, was a disappointment, if not to say sacrilege. I wouldn’t mind to have that postcard though.

Because the album is so perfect, most cover versions of it are not particularly impressive. There’s little point of slavishly following it note by note, yet that’s the trap even Pink Floyd themselves fell into on many occasions. I like Andreas Polyzogopoulos Quartet and Evgeny Khmara’s versions of Shine On You Crazy Diamond; and Have a Cigar by Gov’t Mule, Sweet Leda and The Main Squeeze.

In 2006, I went to see Rodrigo y Gabriela at The Junction in Cambridge. As they often did back then, they played Wish You Were Here with Rodrigo using a (half-full) beer bottle as a slide and the audience singing along. I am still looking for a decent quality video of that or a similar performance, but believe me, it was magic. How I wish you were there.

Tuesday, 1 July 2025

Free live music in Las Palmas, June 2025

This is what we’ve seen in June. Sketches by Tamara.

  • 7 June: El Quinteto: «Un viaje musical inolvidable» @ Auditorio José Antonio Ramos, Parque Doramas, Las Palmas de Gran Canaria
      From son and boleros to landó, tango, fado, Canarian folklore and back. Featuring Fernando García (drums, percussion), Francisco García (flutes), Candelaria González (vocals), Héctor González (vocals, guitar, cuatro) and Ruimán Martín (double bass).

  • 11 June: Julia Rodríguez «Hacia la vida» @ Palacete Rodríguez Quegles, Calle Benito Pérez Galdós, 4
      Julia Rodríguez (vocals, guitar, timple, cuatro), a singer-sogwriter from Fuerteventura now based in Barcelona, accompanied by Franco Contreras (bass), Nuria Herrero (percussion) and Daniel Morales (guitar, tres).

  • 14 June: Madama Butterfly @ Plaza del Tenor Stagno

  • 20 June: Morgane Ji @ Plaza de la Música, Avenida Roberto Clemente Benijófar (next to Auditorio Alfredo Kraus)
      Six years later, Morgane Ji (lead vocals, banjo) returns to Las Palmas, with E.r.k. (guitar), Emeline Fougeray (bass guitar) and Michaël Frideloux (drums). What a show!

  • 21 June: «Música en el corazón de Vegueta» @ Vegueta, various locations
      We went to see La Local Jazz Band feat. Miguel Ramírez (sax), Miqui Delgado (piano), Kervin Barreto (trumpet), Suso Vega (drums) and Abraham Ramos (double bass) in Casa de Colón and Yone Rodríguez Trio feat. Yone Rodríguez (timple), Néstor García (guitar) and Tana Santana (double bass) in Patio de los Naranjos.

Bring on July.

Monday, 14 April 2025

Private Parts

a film by Betty Thomas

The Wikipedia article about it bored me from the start (who is Howard Stern and why do I need to care?). Thankfully, I ignored it and went to see the film anyway. I’m glad I did.

After an unpromising intro, Ozzy Osbourne, as himself, says “what a fucking jerk” about Howard — from that moment on it’s getting better and better. A hilarious biopic/mockumentary mix with soundtrack featuring David Bowie, Deep Purple and Jimi Hendrix, among others, plus live AC/DC — what not to like?

Private Parts was screened as a part of the cycle La radio en el cine by Vértigo.

Monday, 31 March 2025

Free live music and stuff in Las Palmas, March 2025

What we’ve seen in March.

And exhibitions:

And that was it for March.

Wednesday, 26 March 2025

Cool World

a film by Ralph Bakshi

There goes €1 that I’ll never see again.

If you’ve ever seen Who Framed Roger Rabbit, don’t bother with this one. And if you’ve never seen Roger Rabbit, don’t bother with Cool World either: watch Roger Rabbit.

So what’s wrong with this film? Just about everything.

Cool World concludes the cycle Ralph Bakshi: Urban Noir, and about time too.

Thursday, 20 March 2025

American Pop

a film by Ralph Bakshi

Finally, a Bakshi film that I actually liked. A soundtrack for the (best part of) 20th century, something for kids of today to watch. Don’t let the title put you off (yes, it makes me cringe too): “pop” here is short for popular music, moving from ragtime to punk with jazz, swing, soul and rock in between. Not pop music. I still don’t get why American artists insist on naming their creations “American something”.

It’s also pretty uneven. The story kind of disintegrates towards the end — as the quality of music goes down. Yet there are some truly beautiful or otherwise funny bits that made my night.

Wednesday, 19 February 2025

Heavy Traffic

a film by Ralph Bakshi

The same checklist here as in Bakshi’s debut feature, plus some clumsy live action and pinball. Heavy Traffic mostly consists of zoomorphic humanoids, not too different from anthropomorphic beasts of Fritz the Cat but uglier. The only attractive character is Carole (Beverly Hope Atkinson). What did she find in Michael the pinball-not-exacty-wizard (Fritz 2.0? Future Bakshi?) is anyone’s guess. The soundtrack is really good, would be even better without Scarborough Fair.

Thursday, 13 February 2025

Fritz the Cat

a film by Ralph Bakshi

Sex, drugs, rock’n’roll, profanity, graphic violence, politically incorrect jokes — in other words, “something to offend just about everyone”. I must say Fritz the Cat didn’t offend me that much. Perhaps it haven’t aged that well then. The thing is, at 78 munutes, the film is way too long for the message, if there was any. I don’t mind sex between anthropomorphic barnyard animals, I’d appreciate (proportionally) more rock’n’roll, and I really could live with less violence. Cut it to 20 minutes, I say, and we’ll talk. Of course, Billie Holiday and Bo Diddley are great. Some of them jokes still work —

We interrupt the Israeli–Arab war for this special announcement. The President, after conferring with Israeli Prime Minister Golda Meir, has agreed to send more arms to Israel, based on the return of New York City and Los Angeles to the United States.

— and some of them don’t. “Radical left”, what radical left? By now, there’s no left left in the US.

Even bigger problem for me is that I didn’t find the protagonist lovable, or charismatic, or interesting in any way. The only character I sympathised with was Harriet the horse, maybe because she reminded me of the donkey from The Bremen Town Musicians.

Fritz the Cat opens the cycle Ralph Bakshi: Urban Noir organised by Filmoteca Canaria and Tenerife Noir.