ELECTRICITY: TOGETHER IN ELECTRIC DREAMS/PHILLIP OAKEY & GIORGIO MORODER

Let's not forget the full glory of the title, not least as it is the how and why they happened to be together that underlines this piece. Hearing a snatch on the radio, I rather guess most civilians assume this to be the Human League, so similar it is to the template already riding high the charts. Indeed, wise to that, the record company contrived to include the song on 1988's Greatest Hits collection of that band. But it wasn't, it arising purely from the serendipity of movie producer Steve Barron rejecting Giorgio Moroder's original choice of singer for a tune he had been hired to write.

Electric Dreams was a film made by Barron, earlier better known as the director of innumerable music videos, such as Take On Me/Aha and Money For Nothing/Dire Straits. In truth, that is as much as you need to know about the film, it being somewhat lightweight tosh, with a soundtrack album, Electric Dreams, featuring many of the great and the good of the day. As I look back at this, Jeff Lynne jostling with Culture Club, plus a couple of Moroder instrumentals, it is remarkable how little else has stuck. It is, really, only the Oakey/Moroder collaboration I can recall. Or anyone else recalls. Room for confusion arises in that the duo produced an album called Electric Dreams. The song and several more they cooked hastily together. Again, only the title track has had any real posterity.

Be My Lover Now/Oakey & Moroder

Moroder seems an interesting guy, and certainly lucky to be in the right place at the right time. Whilst his website might describe him as the founder of disco, a claim he seems on shaky ground with, it correctly asserts he was a trailblazer of electronic music, seeing the more popular opportunities in synthesisers , still then more the domain of serious prog-rockers. I had not before appreciated that the song, Son of My Father, taken to the UK chart by band Chicory Tip, was one of his writes. Pretty slim fare, it's true, but it was certainly the first synthesiser led track I can recall on Top of the Pops. As a producer and studio mogul, Moroder pumped out a slew of singles, embracing the twin idioms of disco and electronica. If by attrition alone, some of these had to be hits, with Donna Summer's I Feel Love being his biggest and best known breakthrough. If many of his themes and backing tracks sounded the same, that seemed no bad thing, and he took the launch into film scores. Here, Midnight Express was clearly his high water mark, but the list of his other involvements is immense, from work with David Bowie and Blondie. And Electric Dreams, of course.

The Chase (Midnight Express)/Giorgio Moroder 

A couple of decades silence and he was again suddenly the rage, taken up by Daft Punk and celebrated once more, delighting in being able to remind the world of his modest contributions to music.....

Giorgio by Moroder/Daft Punk

Phil, or Phillip, as he now prefers, Oakey, has also made the most of his opportunities. As lead singer for Sheffield electronic noise terrorists, The Human League, beleaguered and embattled by lack of success, he was left high and dry when the musicians in that band left for Heaven 17,  alone, with only the name of the band. By some enormous quirk of fate he hired a couple more players, added in two schoolgirls he had seen dancing at a club and they were huge. And rightly so. Dare, courtesy some fabulous songs, strident yet simple synth melodies, Oakey's shaky stentorian voice and the glorious naffness of the girls, leapt into the charts as an album, the singles vying with each other to get higher and higher than the one before. Culminating, inevitably, with the joy of Don't You Want Me, number one forever over the Christmas and New Year of 1981 into 82, buoyed by a never more memorable video. If their pinnacle, it certainly wasn't all they had, that line up managing a decent follow-up ahead of creeping personal differences. Another rebirth, as Jam and Lewis picked up the band and gave them a shake, and provided much of the material, with Human shaking the rafters worldwide. Since then they plod on, Oakey, the girls and whomsoever, surviving on the oldies market and the flurries of hope that each new release provides. I think I would certainly still cross the street to see them live.

Never Let Me Go/The Human League

So, the actual song? Well, as described, Barron suggested Oakey and, seemingly, ten minutes in the studio and it was the first take that was used, achieving a 1984 number 3 hit in the UK, but only featuring in the Billboard Dance Chart, if still a not unhealthy 20. In their (electric) dreams, not.

Together?

Trees/Grass: Mark Knopfler's Redbud Tree

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I like Mark Knopfler. I mean .. I don't know him to like him in that sense, but from back in the
days of <Sultans of Swing> and  <Money For Nothing/I Want My MTV>, and through his collaboration  with Chet Atkins (one of my favorites), film sound-track work, various session work and further projects with Clapton, the man has retained my respect. Respect for his musicianship,
respect for what I can sense of his personality. Respect for cutting out when he deemed he'd had enough of the kind of lime-light that Dire Straits must have brought upon his head.


It appears that he commands a similar like-ability/respect from fellow musicians: the list of people
his has collaborated with is best seen at Wikipedia:


Even with the relative <drive/rock fury> of Dire Straits, I think you can sense a certain laid-backness to the man/his style. Maybe that is why he seems to fit in so well with other musicians (with a like mind?)

Leftovers (Down): Down to the Waterline

Dire Straits: Down to the Waterline

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Dire Straits burst on the scene in 1979 with a combination of literary lyrics and incendiary playing. Sultans of Swing seemed to introduce Mark Knopfler as the newest guitar god, so some listeners probably overlooked the fact that the song also invoked a powerful sense of place, and sketched memorable characters in just a few lines of lyric. Down to the Waterline was the followup single, and the guitar playing here is still pretty fiery. But the song is also a powerful reminder of Knopfler’s talent with words. This time, the song describes a series of passionate stolen moments with a strong sense of the here and now. But the last verse reveals that these were a series of memories, despite their immediacy. That shift in perspective is a feature that is often found in the short stories of the masters, and Knopfler does it with only as many words as are absolutely needed.

Over the years, Knopfler would show that he had no desire to be a guitar god. He is still widely admired by his fellow players, but the fireworks disappeared starting with the third Dire Straits album, Making Movies. The literary quality of his lyrics, however, was a constant, first with the rest of the Dire Straits albums, and then throughout Knopfler’s later career as a solo artist. Even a song like Money For Nothing, with its lowbrow narrator, is a powerful evocation of character. All of that talent as a writer was on display from the beginning, and Down to the Waterline is a fine example.

Large Numbers: Millions- Humor Edition

Tom Paxton: One Million Lawyers

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Dire Straits: Millionaire Blues

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Bare Naked Ladies: If I Had a Million Dollars

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As our theme indicates, one million is a very large number. Thinking about it is enough to make your head hurt. There is simply no way for most people to imagine how much one million actually is. So we humans sometimes cope with the concept by resorting to humor. Here are three fine examples.

It may be tempting to think of folk music as serious business. There are all those murder ballads, for starters. And many protest songs are solemn affairs. But Tom Paxton has always made his points using humor. One Million Lawyers doesn’t protest anything. It simply a gentle poke at all of us. I offer it here, knowing that at least one of our writers at Star Maker is a lawyer himself. All in fun, I assure you.

Millionaire Blues is a slyer form of humor. Here, Mark Knopfler of Dire Straits is poking fun at himself. Remember, this is the same man who wrote Money For Nothing, so he knows what it is like to have far less money. He reminds himself that, no matter how hard things may get for him, he has it better than many others. The blues is the perfect musical genre to make this point. “Low as the heals of my alligator shoes” indeed!

Finally, If I Had a Million Dollars is a song I was sure would have been posted by now. Barenaked Ladies make the point here that it most of us can not even imagine what we would spend it on if we did have a million dollars. In fact, buying all of the items listed probably would spend it down in record time, but that is not the point. This is a promise of love based on a fantasy of money the singer never really expects to have.

HISTORY/AGAIN : Mark Knopfler

Some artists clearly love a true story, if only and at least as a template from where to launch into fanciful forays of imagination. Knopfler is someone who seems forever digging around in the past as inspiration, uncertain whether he likes to research or has just a vast accumulated knowledge. Probably a bit of both, having trained and worked as a journalist, before a degree in english and working as a college lecturer, his career in music on a slow side simmer until the relatively advanced age of 28. Of course, Dire Straits became huge and possibly so ubiquitous that they and he became an easy target for the taste police, deeming him dull and anachronistic bombast, an irony given the majority of their/his songs retained a virtue of their lack thereof. I like him and always did, an early adopter, as Sultans of Swing soundtracked my student years in London. (Come to think of it, it's now so long ago it probably counts as history in its own right!) While Dire Straits dabbled in ye olde historical, meaning more WW1 than Italian familial vendetta, it is in his less acknowledged and still smouldering solo career that this side of his songwriting style has really found wings, now 9 albums strong, along with collaborations with, amongst others, Emmylou Harris and Chet Atkins.

Does the legend of Imelda Marcos' shoe cupboard count as history? I think it does, even if the song is a retread of that song indirectly referred to above. Arguably one of the weaker cuts from his first post Straits non soundtrack output, it wasn't until his 2nd record that he really found his narrative skills. The title track from that record follows, and I like to feel it alerted many a listener to the hitherto untapped world of cartography. A beautiful duet with James Taylor, himself no stranger to a shot at history*, it remains the high point of live performance.

Whilst his next record was largely a paean to his Northumbrian roots, it was 2004's Shangri-La that really outed his love of the biographic, with songs inspired by Elvis, by Sonny Liston and the UK King of Skiffle, Lonnie Donegan. And this one, about the developer of McDonalds, yes the meat patty people, Ray Krocs, with many of the lyrics, included below, lifted directly from his autobiography.

A distinct feature of successive output has been the greater immersion in traditional and rootsy forms, whether an anglo-celtic folk tradition or from country music. Lyrics increasingly based upon folklore perhaps, than hard evidence, but no less cinematic, like this whimsy around the Reivers, cross-border bandits really, who flitted between the english north and scottish south, sheep stealing, cattle rustling and generally causing havoc. (Hence the derivation of the word bereaved, meaning the fate of those who had been "reived".)

His next work substituted border cowboys for pirates, again using the metaphor of a band of marauding rogues for, maybe, the lifestyle of an itinerant rock and roll band. By this stage I fear the lyrical conceits get the better of his tune smithery, but it continued to add to his reputation as a reliable and authentic musician, selling respectably.

Finally we come up to date with last years 'Tracker', more confirmation of his comfort zone, but again featuring songs relating to real-life individuals, one to little known poet, Basil Bunting, and another musing on the legacy of novelist Beryl Bainbridge and her attempts at the Booker prize, the prestigious UK grail for novelists, and in style a tip of the hat to earlier musical memes.

So this is but a mere dip into the historical sources put to use by this gifted and self-effacing Northumbrian, clearly a well-read man, usually issuing these songs as either the title track or lead single. In concert he can seem embarrassed by his earlier successes, oft dashing off his hits with a grimace before another earnest folk-hued story unfolds. I suspect the audiences still come mainly for those hits, but overall, given the choice, I think I prefer the best of his solo work.

(*Machine Gun Kelly was written by Taylor guitar to go, Danny Kortchmar.)

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In Memoriam: Stephen R. Johnson

Anyone who reads my stuff would probably have bet on an In Memoriam post about the late Daevid Allen, of Soft Machine and Gong, who died on March 13, 2015. But I’ve already written about him here, and decided to look in a different direction--Stephen R. Johnson, one of the most important people in music history that you have never heard of, who died back on January 26, 2015.

If you are a person who came of age watching MTV when it still played music videos, and someone asked you what the most memorable video was, there’s a pretty good chance that you would say, “Sledgehammer,” by Peter Gabriel. And, considering that the video won a still unsurpassed 9 MTV Video Awards, and was the most played video on the channel, it is fair to say that it changed people’s perceptions of what a music video could be. The song is great and moved Peter Gabriel’s solo career from a prog-rock niche into mass popularity, but the video was what made it stick in our minds. It was directed by Stephen R. Johnson.

The animation was done, in part, by Aardman Animations, which went on to create Wallace and Gromit, and the production of the clip required that Gabriel remain under a glass sheet for 16 hours. I’m really not a huge fan of music videos, but this one was special, and still holds up. Johnson also directed similarly wild videos for Gabriel’s “Big Time” and “Steam,” which won a Grammy. He also directed the video for Talking Heads’ “Road To Nowhere,” and Dire Straits’ “Walk of Life” (which, at Mark Knopfler's direction, included sports footage and no shots of his large-nosed profile), received an Emmy nomination for directing the first season of Pee-Wee’s Playhouse, and did work for Amnesty International.

Johnson was born July 12, 1952, in Paola, Kansas and attended college at Kansas University and the University of Southern California, where he created an award-winning movie using the stop-motion technique that he would use in many of his music videos. His first music video was an awful one for an awful 80’s band called Combonation, redeemed only by an appearance by a pre-stardom Robin Wright, and the fact that a guy in the video is wearing a Mets hat. From that humble beginning, his career went on a rapid upswing to the heights of “Sledgehammer.”

Unfortunately, Johnson passed away, too young, on January 26, 2015, of what was described as “cardiac complications.”

What Songs Look Like: Money For Nothing

Dire Straits: Money for Nothing

 

Back in the 80s, where I live, we had no MTV - until very recently - at which time it had degenerated so far that it wasn’t worth watching any more. That’s not to say that I was totally out of the main stream: I had friends who would record MTV to VHS cassette and send it to me “over here”, where we would watch the same 60 minute tape again and again trying to gain a sense of “main stream” America. And enjoying the music/media, of course.

Of these early videos, one in particular stands out – trite, but quintessentially classic – partly because of its name, partly because Star Maker has never given enough due credit to the group/the man. From the 1985 album Brothers In Arms: Money for Nothing. Here is Mark Knopfler  - among the guitarists supreme. I have a CD that includes him playing with Chet Atkins: excellent. I have a web-flv of him with Clapton.

I know he’s done much, much more. Dire Straits' “I want my MTV” seems to me to be among the best MTV clips. It’s got graphics that push the limits for the time, the music is timeless…

As Darius said, this was all before the time of what we take for granted as every-day computer generated graphics, so cut the visuals a break accordingly

Creepy Crawlies: The Bug

Dire Straits: The Bug

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The last single released from the last studio album Dire Straits ever recorded. It's no Sultans of Swing, and it's a heck of a lot more straightforward than most of their catalog -- after their huge success with Money For Nothing the band was producing mostly MTV-ready rock by the final stages of their run together; though The Bug charted at #8 on the Hot Mainstream Rock charts in the US, the rest of the world had already lost interest. But the sentiment is universal, and the beat just as catchy and distinctive as ever.

To be fair, this song might not have made the cut this week, but I seem to be in a country mood, and Mary Chapin Carpenter's two-steppin' cover, which peaked at #16 on the Hot Country Singles charts the following year, stands up well to the original.

Mary Chapin Carpenter: The Bug

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This and That: Romeo and Juliet

Dire Straits: Romeo and Juliet

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Indigo Girls: Romeo and Juliet

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So... I was having a discussion with a friend recently about the song Romeo and Juliet - she prefers the Indigo Girls' version and, much as I love them as a songwriting duo, I'm obsessed with the original by Dire Straits. The former is too urgently strident for my taste, while the latter is more achingly plaintive - in either case, whether a wailed Julie or a whispered Juliet, it's a stunningly classic tune I've loved for decades.

Who can resist Mark Knopfler's thinly-veiled brilliant references to girl groups ("hey la, my boyfriend's back"), West Side Story ("there's a place for us, you know the movie song") and the balcony scene in Shakespeare's play ("all I do is kiss you through the bars of a rhyme, I'd do the stars with you anytime"?

Cliff Eberhardt: Romeo and Juliet

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Mark Knopfler: Romeo and Juliet

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Cliff Eberhardt offers up a folk/Celtic/rock/twang mix (with backing vocals by Patty Larkin) that bridges the gap between the DS and IG renderings - I've also included the amazing live performance of R & J on Mark Knopfler and Emmylou Harris' Real Live Roadrunning CD, which kicks off with a jaw-droppingly gorgeous piano solo and then segues into a 9-minute tour de force, which I tend to listen to on repeat play, loudly and often... :-)

The Aristocrats: Sultans of Swing

Dire Straits: Sultans of Swing

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So many king and queen songs yet to come, not to mention all those folk songs about Lord This and Sir That, but I thought I'd break up the folk and the trend toward western royalty a bit more by sending forth a relatively common but no less poignant or potent poptune from the Sultans of Swing themselves, as led by mastermind lyricist and distinctive guitarrock wizard Mark Knopfler.

You probably know this as ubiquitous and easily dismissable, despite its great hooks and masterful guitar solo (#22 on Guitar World's list of the greatest ever), but the tune has relevance, I think. The song emerged in the midst of the late disco era as an anomaly -- a daringly straightforward rock tune in the midst of a disco and pre-punk era; it took a few months to take off, given the BBC reluctance to play the song due to its "high lyrical content", but eventually reached top ten in the UK and the US; the tune, a first single, originally recorded as a demo and later re-recorded, truly put Dire Straits on the map, driving their self-titled album double platinum, and setting the stage for a long and fruitful career.

The song also holds an unusual place in the musical pantheon: to wit, most bands don't write a song about failed bar bands just happy to be playing the songs until at least their third album (see, for example, The Late Greats, which closes Wilco's fifth release), when they start to miss their roots a bit. Look past the cultural familiarity, and listen with 1978's ears; I think you'll find this song remains a powerful statement for the ages, even as it masquerades as classic rock fluff in an indie world.