This morning's edition of Radio 4's Broadcasting House chose to mark the death of Charlton Heston with a montage of scenes from his three most iconic films: The Ten Commandments (1956), Ben-Hur (1959) and Planet Of The Apes (1967). These were huge films in every sense, made during the golden age of Hollywood and Charlton Heston was a monolithic presence at their centre -- competing in chariot races, or parting the Red Sea, or cursing humanity in front of what's left of the Statue of Liberty.
Neil Young, like Dylan, has a lot to live up to. Most obviously, he has to contend with his own reputation, and the expectations of his audience: two things which are not entirely compatible.
The Rock Against Racism manifesto at the time of the second of 1978's major anti-fascist festivals, held in September in Brockwell Park and featuring Elvis Costello and Aswad, called for: "Rebel music, street music. Music that breaks down people's fear of one another. Now music. Music that knows who the real enemy is. Rock against racism. Love music. Hate racism."
I’ve just been reading your comments on yesterday’s Vampire Weekend blog – thanks for those. They helped me crystallise my thoughts about that much-vaunted African influence on the album. What’s interesting, I think, is not that they draw on African sounds, but how they point up the affinities between that spindly, melodically cartwheeling guitar sound and the indie-rock tradition.
