I can’t off the top of my head think of another instance where you’ll find a former US President queuing up alongside the head of the Hell’s Angels to dispense hosannas on one man. But that, perhaps, says much about Hunter S Thompson’s influence on American culture – particularly during the late Sixties and early Seventies when, as Alex Gibney’s brilliant documentary rightly identifies, Thompson was, unbelievably, one of the most influential men in the country.
Judging by the activity on the blog about “Golden Age”, there’s a fair amount of excitement about TV On The Radio’s “Dear Science”. And, now that I’ve heard the album properly a few times, I reckon it’s pretty justified: this is the best record the band have made by a mile.
The movie career of Steve Coogan has so far proved to be a fascinatingly erratic subject. Sure, it’s not unusual to find a successful British TV comedian struggle to establish himself in movies, particularly in Hollywood. For every Dudley Moore, who became a huge movie star in the States with Arthur and 10, you only have to look at Peter Cook - the true genius in that partnership - whose transatlantic film career barely made it beyond Supergirl.
By most fan standards, I’m a bit of a Grateful Dead lightweight. I own no bootlegs, and precious few live albums beyond the canonical early ones – “Live Dead”, “Europe ‘72” and so on. Consequently, two things: one, if anyone has recommendations for me from the “Dick’s Picks”/”One From The Vault”/"Road Trips" catalogue, I’d be very grateful (thanks again for everyone’s help navigating a path through Fleetwood Mac, by the way). And two, “Rocking The Cradle: Egypt 1978” is, I think, my first encounter with live Dead from that period – I reckon the latest show I have is that excellent one from “Cow Palace ‘76”. So forgive me if I can’t quite tell how this one measures up against other contemporary shows.
When Klaus Dinger died a few months ago, I mentioned in an obit here that I had an unpublished interview with Dinger and Michael Rother, from when they briefly reunited to promote the Neu! reissues in 2000.
As someone who has spent a good decade lavishing praise on/making excuses for Julian Cope’s music while so many of his old fans have wandered off in dismay at another Brain Donor CD, I suppose I shouldn’t have been surprised at being one of the very few people who enjoyed his show at Latitude last month. I blogged about this captivating spectacle at length over here, so won’t go into it all again now.
