They, of course, remain too lazy to find out that the likes of Sam Russo, Al Baker and Giles Bidder all plough similar furrows with a deal more earnestness than Frank yet are about a billion miles away from getting anywhere near a gig at Wembley.īut a convenient story does not a good album make (just as sketchy politics don’t always make for bad records) and you suspect that the detractors will find little on ‘Tape Deck Heart’ to change their minds.
In fact, lets take that album name for a starter. It feels so wilfully antiquated, such a cynical play to the twee punk rock mythos of anachronous formats that it becomes difficult to really take it, or any of the tall tales in the songs that fall under its header, seriously at all. The first track, hell, the first LINE of this album sees Frank “blacking in and out in a strange flat in East London” now, if that ain’t a sign to fire up the cliche klaxon I don’t know what is.
It’s a feeling of calculatedness that pervades throughout - there is a hilarious line in ‘Polaroid Picture’ about The Astoria closing down and the government building a train track where it once stood which leaves you feeling as though Mr Turner has gone through the ‘big book of causes dear to the London rock fraternity’ and tried to tick them off one by one. Oh, “lacklustre scenesters from Shoreditch” are shit too according to ‘Four Simple Words’ (where was that flat you were blacked out in again, mate?).
TAPEDECK PUNK FULL
Total Eclipse, it's a total eclipse.Instrumentally there is the standard Turner blend of stripped down acousticeering mixed with piano-embellished full band climaxes and ironically for a man oft portrayed as a traditional one- man-and-a-guitar act it is in these musical expanses where ‘Tape Deck Heart’ is at its best. Still to this day you just might catch me trying to sing like Klaus while driving down the road.
TAPEDECK PUNK FREE
It was a testament that music shouldn't be safe, the artists were free of self-imposed or industry boundaries. The variety of bands, music styles, and personalities featured in the film were remarkable. We were convinced he was from another planet his costume, make-up, receding hairline, pointy hairdo, and wide vocal range were dead giveaways. The film showcased live performances by some of our favorites groups: Oingo Boingo, Surf Punks, Devo. In contrast, we discovered an entirely new portal and had out minds blown by: Skafish, Steel Pulse (roots reggae with a parody of a Ku Klux Klan member running around the stage) and especially Klaus Nomi: his song was a fusion of disco, opera and punk. Stick pins into you, Sleez Sister voodoo.Īnother film that made its way into late-night Showtime rotation and was a cornucopia for turning Jimmy and I on to new bands was: Urgh! A Music War. Ladies and Gentlemen, The Fabulous Stains (1982) is also worth mentioning and would fit nicely in the genre of empowered teen females. Undertones and additionally, perhaps it was a precursor to the Riot Grrrl It didn’t occur to me at the time, but the film had lesbian Neighborhood: “Spick, Nigger, Faggot, Bum” adding “You’re daughter is one” toĭisassociate themselves from what they see as a heterosexual white-maleĭominated world. They use his words of describing the inhabitants of the Pamela’s father: a well-to-do businessman who wants to make a buck gentrifying The pair form the band Sleez Sisters and write a song about Protagonists, Nicky and Pamela, who are entrenched in the streets of New York’s We lived vicariously through the two independence-seeking
Who discover one another and struggle together against parents and the usual gang ofĪuthority figures. The plot is a tale of two disaffected teenage girls Have watched the film Time Square, (1980 with Robbin Johnson, Trini AlvaradoĪnd Tim Curry) a dozen times on HBO.
TAPEDECK PUNK TV
Neighborhood and it meant more late night TV options for Jimmy and I. Cable television finally became available in my
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