Archives for category: Music

As I’ve been in the process of moving house I only just got round to seeing Jersey Boys, a film I was very interested and curious about for the past few months. I’ve never seen the stage show but as a fan of Clint Eastwood, Christopher Walken and 50s/60s music, my hopes were high.

jerseyboysBorn Francesco Castelluccio in Newark on May 3rd 1934, Frankie Valli had aspirations of musical stardom but settled on his father’s career as a barber. He performed where he could, showing off his impressive falsetto at every opportunity.

Near the beginning of the film, Four Season Tommy DeVito explains that for a young man in their neighbourhood there were three options: joining the army, running for the mob, or fame. Despite early brushes with the law and Four Seasons members Tommy DeVito and Nick Massi serving time in prison, the boys strived for the latter.

Jersey Boys details the Four Seasons’ origins, their rise to fame, financial difficulties and subsequent breakdown, with family and relationship problems thrown in for good measure. All the hits are there: Sherry, Walk Like A Man, Can’t Take My Eyes Off You, Oh What A Night, and Big Girls Don’t Cry. The use of My Eyes Adored You during Frankie’s daughter’s funeral is particularly poignant.

The film is slightly similar in tone to A Bronx Tale, with a touch of The Soprano’s. Incidentally, Frankie Valli featured in seven episodes of The Soprano’s as Rusty Millio. There’s also an obvious Goodfellas link: Joe Pesci grew up with the Four Seasons and he is played by Joseph Russo in a small role. However, Pesci’s Goodfellas character, Tommy DeVito, was not called after the Four Seasons member of the same name.

Christopher Walken is excellent as always as mob boss Gyp DeCarlo, one of the few actors who didn’t feature in the original Broadway show. With the exception of Boardwalk Empire star Vincent Piazza (Tommy DeVito), the rest of the Four Seasons were the Broadway stars of Jersey Boys, with John Lloyd Young as Frankie Valli collecting a Tony for his performance

The Jersey Boys movie won’t set the film world alight, but it’s a well-produced feature (I really felt like I was in 50s post-war USA), with touches of humour and punchy performances – both acting and singing. The Italian-American clich├ęs are inevitable and perhaps the films strays too far towards nostalgia at times, but it’s a very good example of a musical movie.

Jersey Boys is described as a musical, but it’s more of a biopic and the majority of the songs were performed live for the film in clubs.

This got me to thinking about other musical biopics. There are some great ones out there such as Control (Joy Division) and Behind the Candelabra (Liberace), and some that are currently in the works that sound very interesting indeed: Iggy Pop, Elvis Presley and Freddie Mercury to name but a few.

However, there are many more terrific artists that I feel deserve a biopic, those whose lives I believe would make a great movie. Artists like:


Del Shannon (1934 – 1990)

Born Charles Weedon Westover in Grand Rapids, Michigan, Del Shannon was a country music turned rock and roll star of the early 60s. He had several self-penned hit singles such as Little Town Flirt, Hats Off to Larry and of course Runaway, but he had just as many hits covering other peoples records. Del Shannon had a knack of taking the songs of others – like Chuck Berry and The Beatles – and making them better, almost making the originals redundant. He was popular in both the US and the UK and had several top ten hits.

Many of Del’s songs centred on heartbreak and sorrow, such as Keep Searchin’ and Break Up, and in his personal life Shannon suffered from depression and alcoholism, which eventually made it difficult for him to continue recording. He sadly committed suicide by gunshot on the 8th of February 1990.

In 1999 he became a Rock & Roll Hall of Fame inductee. His most famous song, Runaway, has been covered by many artists including Elvis Presley, the Traveling Wilburys and the Misfits.


Roy Orbison (1936 – 1988)

A Roy Orbison film would certainly have huge highs – solo success, hits as part of the Travelling Wilburys and songs immortalised in feature films (from Pretty Woman to Blue Velvet) – but also massive lows. Roy’s life was blighted by tragedy; his first wife died in a motorcycle accident, and his eldest two sons lost their lives in a house fire.

At his musical peak at the same time as Del Shannon, Roy’s songs were also concerned with love, and could be tormented as well as light hearted (Crying and Pretty Woman respectively).

Roy was the first rock star to wear shades indoors, leaving some to think he was blind. Rumour has it he misplaced his regular glasses and had to wear his prescription shades as an alternative. This only added to the mystery of The Big O. Roy was not flamboyant or charismatic like many rock and rollers but all his passion came out in his wonderful voice, which earned him many fans including U2 and Bruce Springsteen.

In the late 70s he underwent a triple heart bypass due to years of heavy smoking. After a resurgence in Roy’s back catalogue in the 80s, the man with the Ray Bans was inducted into the Rock & Roll Hall of Fame in 1987. In 1988, Roy died aged just 52 of a heart attack. Some say he worked himself too hard, others say all the pain he had endured was too much for one lifetime. Roy was a true individual with an effortless style and unmistakable talent.


Dion DiMucci (1939 – )

A Bronx native, born to Italian parents, Dion first came to prominence in the late 50s as the lead singer of Dion and the Belmonts, named for the New York street they used to rehearse on before they hit the big time. The Dion story would naturally draw parallels with the Frankie Valli story: both are Italian-American lead singers with backing bands during the same era, who went on to achieve solo success. However, Dion’s story grew darker as he had been battling heroin addiction since his mid-teens, directly opposing his clean-cut teen idol image.

The Belmonts’ hit song I Wonder Why has been used in many films such as A Bronx Tale and Christine. They had several successful singles like A Teenager in Love but Dion decided to move on from doo-wop to create a more rocky, rhythmic sound, branching out on his own. The transition from Teenager in Love to to Ruby Baby via Runaround Sue was complete.

During a tour with several other bands, Dion gave up his seat on the ill-fated flight that took the lives of Buddy Holly, Ritchie Valens and the Big Bopper as he didn’t want the extra expense.

Dion continues to make music, but with a blues inflection. He was inducted into the Rock & Roll Hall of Fame in 1989, with celebrity fan Lou Reed making the introductions. John Lennon was also a big fan of Dion; he used his image on the cover of Sergeant Pepper’s Lonely Hearts Club Band.


Johnny Thunders (1952 – 1991)

John Anthony Genzale aka Johnny Thunders grew up in Queens, New York and was destined for baseball stardom. He was scouted in his early teens for the Boston Red Sox and the Philadelphia Phillies but his sporting career was over before it began. An antiquated Little League rule stated that the player’s father must be present at the games; Johnny’s father had long abandoned the family and was a known womaniser. This loss hit him hard and he concentrated on putting all his energy into his other great love: music.

He flirted with the name Johnny Volume and fronted his own band as a teenager. Johnny first found real fame as a guitarist with the New York Dolls, who produced hits like Personality Crisis, Trash and Private World. Malcolm McLaren was fascinated by them and attempted to emulate their style and sound with a well-known UK punk band.

Johnny founded The Heartbreakers when the Dolls disintegrated, recruiting former Dolls drummer Jerry Nolan and former Television bassist Richard Hell. He was a great songwriter, in spite of his struggles with literacy. He was also a strong guitarist despite his raging heroin habit. His guitar sound was raw and powerful, as was his voice, which emulated the sense of pain and suffering he put his body through with addiction.

After the demise of The Heartbreakers he recorded and performed as a solo artist with several different backing bands. In the months leading up to his death he already resembled a cadaver, with a pallid sunken face and a vacant stare. He died somewhat mysteriously in New Orleans aged just 38. Whilst several illegal substances were found in Johnny’s system, it wasn’t enough to kill him. Foul play was rumoured but the likelihood was that Johnny had already succumbed to cancer brought on by a serious intravenous infection.

One of Johnny’s final performances (Just Another Girl).


Avoiding the mud, sweat and (thrown) beers of the real Glastonbury, I had my own celebration of rock and roll from the comfort of my living room. One act I really didn’t want to miss was Bryan Ferry, so I made my way to the front row aka my sofa to listen to Roxy Music classics like Love Is The Drug, Avalon and More Than This.

The first thing I thought when Mr Ferry took to the stage was: the man’s still got it. The second thing was that he was wearing an amazing satin, patterned smoking jacket and undone bowtie, proving that his sartorial style just gets better and better.


This prompted me to recall some of Bryan’s most iconic looks, from his spangled get-ups during Roxy’s glam rock beginnings to his impeccably-cut suits of recent years.

What set Roxy apart – other than their early adoption of synthesisers and intriguing lyrics – was their style, in particular the panache of their lead singer.

Here’s Bryan in 1972 performing Roxy’s hit Virginia Plain on Top of the Pops, complete with heavy eye make-up. This sort of look was soon toned down to a more sophisticated mode, but was no less notable.

From the cover shoot of the single Smoke Gets in Your Eyes, Bryan’s three-piece suit is exquisite. With his perfectly-coiffured bouffant, he recalls a raven-haired Christopher Walken.

In this clip from The Old Grey Whistle Test in 1973, he dons a similar suit. His marionette-like spasmodic moves are almost hypnotising. Prog-rock touting presenter Bob Harris hated acts like Roxy and the New York Dolls, referring to them as ‘mock rock’, which makes this even more brilliant.


A very suave look from the cover of Another Time, Another Place (1974), wearing a white tux and obligatory cigarette. I love the light and mood of this photograph.



Even in more casual attire, the man can do no wrong.


On the cover of French GQ in May 2011, looking like the coolest grandad ever.


On a side note, if there is ever a biopic made on Bryan’s life, I reckon he should be played by Christian Bale.

Since Dolly Parton was such a massive hit at Glasto, you may wish to read a piece I penned on the country music legend last year.

I recently finished reading this brilliantly named autobiography by ex-punk rocker Richard Hell. It’s everything you could want in an autobiography: egotistical, eager to divulge, and highly entertaining.


During the latter chapters I recalled Hell’s performance in the movie Smithereens (1982), the feature film debut of Susan Seidelman, who directed Desperately Seeking Susan (1985) (Richard also had a part in this), and written by Ron Nyswaner, who penned the Tom Hanks film, Philadelphia (1993).

Smithereens tells the story of Wren, (Susan Berman) a young runaway with no discernible talent, who sees Richard’s character, a musician named Eric, as a gateway to fame. It’s very evocative of the era, with a few of The Voidoids’ songs in the soundtrack. Worth checking out if you are/were into the CBGB scene.

Many favourite artists of mine have had a go at acting.

Here’s New York Dolls frontman, David Johansen, haunting Bill Murray as a deceased cab driver (Ghost of Christmas Past) in Scrooged (1988). Johansen still acts, sometimes under his alter ego, Buster Poindexter.


Joe Strummer in Mystery Train (1989), Jim Jarmusch’s love letter to Elvis Presley. Here he is, holding up a liquor store with Steve Buscemi.

NB A few members of The Clash, including Strummer, had cameos as ‘Street Scum’ in Scorsese’s The King of Comedy (1982).


Bo Diddley in Trading Places (1983) as a pawnbroker. He doesn’t seem too impressed with Dan Aykroyd’s watch.


Iggy Pop as Belvedere Rickettes in Cry Baby (1990), John Waters’ comedy musical set in 50s Baltimore. Iggy’s had a few film roles over the years but Cry Baby was one of his more memorable roles. I think this clip illustrates my point.

Bryan Ferry as a punter in Breakfast on Pluto (2005). Incidentally, Jared Leto’s Rayon in Dallas Buyers Club looks strikingly similar to Cillian Murphy’s Kitten in this. Ferry’s isn’t a big part, more of a cameo, but it’s a good performance. Unfortunately I couldn’t find a clip of this.

Then there are artists who straddle the actor/musician divide, like David Bowie, noted for his many sci-fi and fantasy roles, such as The Man Who Fell to Earth (1976), Labyrinth (1986) and The Prestige (2006).

And of course Meat Loaf, who I mentioned a couple of days ago when I visited The Frankenstein Place. Notable standouts include his role as Eddie in The Rocky Horror Picture Show (1975), and his emotional turn as a lactating cancer patient in Fight Club (1999).

Do you have a favourite musician in a movie? Roger Daltrey in Tommy? Mick Jagger in Performance? Maybe even Tina Turner in Mad Max?

Listening to music whilst driving earlier today, I happened to play Devo’s cover of Satisfaction by the Rolling Stones, which started an in-car conversation about favourite cover songs. The results included a comedy jazz take on a nu-metal song, a punk rock impression of a country ode, and a new wave version of a Motown classic, most of which we decided were better than the originals. All of our choices are listed below.

Del Shannon – Memphis (original artist: Chuck Berry)


The Specials – A Message To You, Rudy (original artist: Dandy Livingstone)


Nirvana – Plateau (original artist: Meat Puppets)


Talking Heads – Take Me To The River (original artist: Al Green)


Echo and the Bunnymen – People Are Strange (original artist: The Doors)


Richard Cheese – Down With The Sickness (original artist: Disturbed)


Misfits – It’s Only Make Believe (original artist: Conway Twitty)


Bryan Ferry – The ‘In’ Crowd (original artist: Dobie Gray)


The Clash – Brand New Cadillac (original artist: Vince Taylor)


Devo – (I Can’t Get No) Satisfaction (original artist: The Rolling Stones)

World Premiere Monday 7th October


Danny Elfman has composed themes as diverse as Tales From the Crypt, Desperate Housewives and of course The Simpsons, as well as films such as Men in Black, The Frighteners and Sam Raimi’s Spider-Man. However, it is his compositions for (most*) of the films of Tim Burton that he is most recognised, and this relationship was the reason for last night’s sold-out concert at the Royal Albert Hall.

John Mauceri conducted the BBC Concert Orchestra, who worked their way through his Burton back catalogue. The music was accompanied by a slideshow of film clips and Burton’s drawings, the early conceptions of his characters. This was a good idea, but I became so enthralled with watching the orchestra that I often forgot about this.

Films featured included early work such as Pee-Wee’s Big Adventure (first full-length feature for both in 1985) and Edward Scissorhands, to later efforts like Big Fish and Dark Shadows as well as animated films Corpse Bride and Frankenweenie.

It can only be described as sublime. Standouts for me were the unbelievably good Beetlejuice intro, Mars Attacks! (a film which I am not overly fond of), complete with theremin UFO-like sounds and the Batman films. (I actually got chills during the Batman sequence).

A huge crowd pleaser which made good use of audiovisual was Edward Scissorhands. From the ethereal choir accompanying Kim as she danced under ice flakes, to the mechanical rumble of the Inventor (Vincent Price) at work, to the whizzy violin solo accompanying Edward’s manic topiary, it was magnificent.

For the Nightmare Before Christmas segment, Elfman joined the orchestra on stage to sing as Jack Skellington, a role which he undertook in the film. He sang four songs, including ‘What’s This’, which was magical. He also sang ‘Oogie Boogie’s Song’, with conductor John Mauceri filling in for Sandy Claws. This was the first live performance of these songs since the film’s debut in 1993.

Helena Bonham Carter took on Catherine O’Hara’s Nightmare role for ‘Sally’s Song’, which she actually performed quite well, despite her admitting to ‘losing my virginity’ with regards to live singing. Burton himself made an appearance at the end.

It was probably one of the best concerts I have ever been to and Elfman called the it the best moment of his life. It made me want to watch all of Burton’s films again, especially ones I haven’t seen in a while, like Pee-Wee’s Big Adventure. It also made me wish I could play an instrument.

Look out for posts this week on my favourite Tm Burton films and my favourite TV opening credits.

End note
*The only Tim Burton-directed movies Elfman did not score were Sweeney Todd and Ed Wood. As Sweeney Todd was adapted from a musical this makes sense. Elfman’s missing name under the composer credit in Ed Wood is a little more confusing. This was apparently due to the two falling out (circumstances unknown), although it evidently didn’t last.