A new restoration of David Bowie performing Fame on the Cher show, which was recorded on this day 18th of September 1975. This fierce, intense performance is surely one of Bowie’s greatest TV appearances. The three Cher Show performances are so contrasting – the fierceness of Fame, and the two duets with Cher – the tender Can You Hear Me, and the showy Young Americans medley. The Fame vocal performance is really astonishing in its forcefulness. It is also interesting because it uses a different mix of Fame as backing track for Bowie’s vocal. • Fame came into being during a one-day session at Electric Lady Studios in New York, in January 1975. It was based on a riff that guitarist Carlos Alomar had developed for Bowie's cover of "Foot Stomping'" by the Flares. Bowie thought the riff was too good to waste on a cover, and reworked it for a new song. John Lennon, who was in the studio with them, came up with the hook when he started to sing "aim" over the riff, which Bowie turned into "Fame". Bowie would later describe "Fame" as "nasty, angry", and fully admitted that it was written "with a degree of malice" aimed at his former manager Tony Defries and his management company, MainMan which was haemorrhaging Bowie’s money. On September the 20th, two days after recording the Cher show, Fame would be Bowie’s first US No. 1 record. In many ways, Fame was the blueprint for what was to come, and on September the 21st, Bowie reunited with producer Harry Maslin, Carlos Alomar, drummer Dennis Davis, plus guitarist Earl Slick, E-Street band pianist Roy Bittan and George Murray on bass replacing Emir Ksasan, for the start of the Station to Station sessions. • I’ve been hoping to get hold of a decent quality copy of this episode of the Cher show for many years. So it’s big thanks to Tyler for providing me with one at last. There was no in-studio audience for the Cher show, the applause and laughter was all dubbed on in post-production. Using a pre-broadcast production copy of the show, at the end of the performance we can hear the actual people in the CBS studio – presumably technicians etc - applauding Bowie's performance. Thanks for watching, hope you dig it! • Video: David Bowie | Fame | Live on the Cher Show | 18 September 1975 | Series 2 Episode 11 | CBS Television City, Los Angeles | Broadcast 23 November 1975 | CBS US | Cher show episode Directed by Bill Davis | APIS George Schlatter Production Inc. Audio: David Bowie | Fame | Live Vocal | Instrumental Mix by Harry Maslin | Backing track originally recorded January 1975 | Electric Lady Studios , NYC | Written by David Bowie | John Lennon | Carlos Alomar | ℗ 1975, 2016 Jones/Tintoretto Entertainment Co., LLC under exclusive license to Parlophone Records Ltd, a Warner Music Group Company Musicians: David Bowie | lead vocals, rhythm guitar, piano, percussion John Lennon | backing vocals, acoustic guitar Carlos Alomar | lead and rhythm guitars Emir Ksasan | bass Dennis Davis | drums Production: Harry Maslin David Bowie • Always more videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe NachosVideos.com Facebook.com/TheNachoVideos Youtube.com/NachoVideo DailyMotion.com/NachosVideos Instagram.com/NachoVideo Twitter.com/NachosVideos ok.ru/nachovideo Patreon.com/nachosvideos TheNachoVideos@gmail.com I edit, therefore I am #DavidBowie #Fame #YoungAmericans #HarryMaslin #CarlosAlomar

A new restoration of the David Bowie and Cher live vocal duet of Bowie’s ballad, Can You Hear Me, which was recorded for the Cher show, on this day 18th of September 1975. • Chris O'Leary writes that Can You Hear Me?, with its guilt and "studied unease", is "sumptuous, its intro alone masterful": "Once we were lovers / Can they understand? / Closer than others, I was your / I was your man." The alto sax, played by David Sanborn and introduced in the third verse, "becomes a competing vocal line". The arrangement and "small cathedral of voices" obscure the "pathetic man at the heart of the song". The original version of Can You Hear Me was recorded in August 1974. The final version was released in March 1975 on the David Bowie album, Young Americans. Nine months later, in November 1975, Can You Hear Me was used as the B-side of Golden Years, the first single from the forthcoming Station To Station album. The three Bowie Cher Show performances are so contrasting – the fierceness of Fame, the showmanship of the Young Americans medley, and the tenderness of Can You Hear Me. As a Bowie fan, it is tempting to ruminate on whether it would have been be better if the performance of Can You Hear Me had been by Bowie alone. But in my opinion this duet is a delight - Cher’s charisma, her extraordinary beauty and her gorgeous, seemingly effortless singing voice are a fine compliment to Bowie. He gives her perhaps the best line of the song, “I want love so badly, I want you most of all”. And she handles it beautifully, with her apparent ease. Another highlight of the performance comes later in the song, when Bowie flirts quite outrageously with Cher, apparently causing her to blush. Bowie claims to remember almost nothing of the recording of the show or of meeting Cher. This is consistent with his claims about the entire Station To Station / LA period where he had little sleep and sustenance was mainly in powder form. Years later Bowie speculated, “I was probably this crazed anorexic figure walking in. I’m sure she didn’t know what to make of me”. • I’ve been hoping to get hold of a decent quality copy of this episode of the Cher show for many years. So it’s big thanks to Tyler for providing me with one at last. There was no in-studio audience for the Cher show, the applause and laughter was all dubbed on in post-production. On this version, that embellishment has been removed. Thanks for watching, hope you dig it! • Video: David Bowie and Cher | Can You Hear Me | Live on the Cher Show | 18 September 1975 | Series 2 Episode 11 | CBS Television City, Los Angeles | Broadcast 23 November 1975 | CBS US | Cher show episode Directed by Bill Davis | APIS George Schlatter Production Inc. Audio: David Bowie and Cher | Can You Hear Me | Live Vocal | Instrumental Mix by Harry Maslin | Backing track originally recorded 13–18 August 1974, at Sigma Sound, Philadelphia| Written by David Bowie | Strings by Tony Visconti | ℗ 1975, 2016 Jones/Tintoretto Entertainment Co., LLC under exclusive license to Parlophone Records Ltd, a Warner Music Group Company Musicians: David Bowie | lead vocals Carlos Alomar | guitars Mike Garson: piano David Sanborn: alto saxophone Willie Weeks: bass guitar Andy Newmark: drums Larry Washington and possibly Pablo Rosario: conga Luther Vandross, Ava Cherry, Robin Clark Production: Tony Visconti Harry Maslin David Bowie • Always more videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe NachosVideos.com Facebook.com/TheNachoVideos Youtube.com/NachoVideo DailyMotion.com/NachosVideos Instagram.com/NachoVideo Twitter.com/NachosVideos ok.ru/nachovideo Patreon.com/nachosvideos TheNachoVideos@gmail.com I edit, therefore I am #DavidBowie #Cher #CanYouHearMe #YoungAmericans #HarryMaslin

A new restoration of the Spring '78 Dallas live footage, re-cut to the Stage version of Blackout, which was recorded in the U.S. during the same period. • Dedicated to the memory of Dennis Davis, who was born on this day, 28 August 1949. Dennis was my favorite drummer. • “Time again to praise Dennis Davis”, is how Chris O’Leary starts the essay on Blackout, featured on his excellent blog, Pushing Ahead of the Dame. “..Davis sounds like a percussive orchestra, or his fills seem a painstaking series of drum overdubs. But it’s just him, most of his drumming cut live, like the series of crazy fills Davis does twice on “Blackout” (cued by Bowie’s “get me to the doctor!” at 1:01 and 2:02), where he spins like the second hand of a clock, moving from toms to congas back to toms. There’s the little fills Davis throws in throughout, as if providing regular infusions of oxygen, or his move to what sounds like cowbell on the “get me off the streets” verse. And during it all Davis keeps perfect time. A human jazz metronome, Visconti later called him: playing flawlessly, yet never the same way twice. Chris concludes the essay with, “The version from Philadelphia, May 1978, collected on Stage, is arguably the definitive version of the song: Bowie’s vocal is tremendous and Davis sounds like a monster’. https://bowiesongs.wordpress.com/?s=blackout Chris is not wrong, on both counts. Davis’ drumming is always thrilling, and Blackout is perhaps his pièce de résistance. On both the studio version on “Heroes” and this live version, his drumming is breathtaking. To me, Blackout is very high art. Bowie was simply at the peak of his creativity at this point. And this track is one of the finest that he created during the so-called Berlin-era. Blackout exists in a special rarefied air, and somehow manages to be abrasive, bleak, funky, romantic, sinister and joyful all at the same time. I’ve been listening to it for almost 40 years, and it still knocks me out. Surely this track was a huge influence on some off the New Wave bands that sprung up in the late 70’s and early 80’s. Listen to Echo & the Bunnymen’s dark, sophisticated 1981 masterpiece, "Heaven Up Here". The elements are all here - the bleak atmosphere, angular guitars, funky basslines, pounding drums, obscure lyrics, controlled off-key singing. • One is always limited in what is possible re-purposing footage onto another audio source. Songs are never played the same way twice, and on this track Bowie, Davis and guitarist Adrian Belew are particularly wayward. As has been mentioned, Davis didn’t play the same way twice. Bowie ad libs very differently on the two versions and swaps emphasis and even lyrics around quite frequently. And special mention must go to Adrian Belew, who more or less plays crazed guitar solos throughout, and was therefore very hard to create believable syncs with the footage. This is my third attempt at this video. I was inspired to remake it again, because I was adding video content to the Carlos Alomar and George Murray panel at the David Bowie World Fan Convention in New York this summer. I wanted Carlos and George and the audience to experience something that really showed Bowie's DAM trio band at their peak. The night of the panel, after I queued up the video and pressed play, I went and stood by the bar, at the back of the venue to watch my Blackout video, on a screen the size of a double-decker bus. Also watching at the back was Dennis Davies student Stirling Campbell, who was grooving along approvingly. It was a proud moment for me. Thanks for watching, hope you dig it! • Carlos, George and myself will be appearing at next year's David Bowie World Fan Convention in Liverpool. Information and tickets here: https://bowieconvention.com/ • Video: Concert footage | Dallas Convention Centre, Texas | 10 April 1978 | RCA U.S. promotional film for Stage | Directed by Stanley Dorfman Interview | Northern Lights | Tyne Tees TV, Newcastle UK | June 1978 Audio: David Bowie | Blackout from the album Stage | Recorded in Spring 1978 | Produced by David Bowie and Tony Visconti Musicians: David Bowie | Vocals Dennis Davis | Drums Carlos Alomar | Rhythm guitar, backing vocals George Murray | Bass Adrian Belew | Lead guitar Simon House | Violin Sean Mayes | Piano, string ensemble, backing vocals Roger Powell | Synthesizer, keyboards, backing vocals • Always more videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe NachosVideos.com Facebook.com/TheNachoVideos Youtube.com/NachoVideo DailyMotion.com/NachosVideos Instagram.com/NachoVideo Twitter.com/NachosVideos ok.ru/nachovideo Patreon.com/nachosvideos TheNachoVideos@gmail.com #DavidBowie #DennisDavis #TheDAMTrio #Blackout #IsolarII #Stage #TheHDProjects

Forty years ago today, 1 September 1983, Tom Waits released his brilliant, ground-breaking 8th album, Swordfishtrombones. Here is a new restoration of the weird and wonderful Haskell Wexler-directed promo video for In the Neighborhood, the single released from the album. • The 1983 Swordfishtrombones album was my first Tom Waits record, and remains my favourite of his. I think it was that year when Waits had first come to my attention, on a late night TV arts show. He played a quirky and downbeat song at the piano. Then, if I recall correctly, a rather pompous guest on the show compared him to an inebriated Alan Price. Waits mumbled something in response that was incoherent, but clearly demonstrated he wasn’t happy with that comparison at all, and neither was I. Soon after that, I heard In the Neighborhood, and I fell in love with it. The beautiful melancholic Christmas music vibes and things-ain’t-what-they-used-to-be-around-here fabulous litany of small local woes, compelled me to buy the album. I didn’t know what I might be getting into with Swordfishtrombones, but I wasn’t disappointed. It turned out that In the Neighborhood wasn’t particularly representative of the album, but that was okay with me because it also wasn’t even the best track on it. I loved the relatively conventional downer ballads such as Soldiers Things and Town With No Cheer. And I also loved the angular, off kilter junkyard blues of tracks like 16 Shells From A Thirty-Ought-Six. As a fan of Captain Beefheart and The Birthday Party, the latter was right up my alley. Swordfishtrombones got great reviews - Rolling Stone; “Tom Waits’ new album is so weird that Asylum Records decided not to release it, but it’s so good that Island was smart enough to pick it up. Half of the fifteen cuts — the dirty blues, poetry recitals and odd instrumentals — would not sound out of place on a Captain Beefheart album. The rest of the record consists of gorgeous Waitsian melodies, which haven’t been collected in such quantity since his ten-year-old debut album”. And Swordfishtrombones was considered to be the second best album of the year [after Elvis Costello’s Punch the Clock] in my weekly music bible, the NME. A couple of years later, I was lucky enough to catch a Tom Waits concert in London. It was the tour for his next [and almost equally brilliant] album, Rain Dogs. It was a suitably bizarre and spectacular show. The trilogy of Tom Waits brilliant Island albums - Swordfishtrombones / Rain Dogs / Franks Wild Years - have just been remastered and re-released. Here’s a really good recent article in The Guardian about that era: https://www.theguardian.com/music/2023/aug/20/tom-waits-frank-trilogy-reissues-swordfishtrombones-rain-dogs-franks-wild-years?CMP=Share_iOSApp_Other • It seems that In the Neighborhood is the only music promo made by Haskell Wexler. Wexler was two-time Academy Award-winning cinematographer and director. He has been adjudged one of the ten most influential cinematographers in movie history. He shot some of the best movies ever made including One Flew Over the Cuckoos Nest, The Conversation, Days of Heaven, and won his Oscars for Who's Afraid of Virginia Woolf? and Bound for Glory. • I can find no decent quality version of this great video online. Even the recentish upload on the official Tom Waits YouTube channel is very ropey looking. This restoration is cobbled together and uneven; it's made from snatches of TV broadcasts and rough YouTube uploads, but it’s an improvement on what’s previously been out there. Thanks for watching, hope you dig it! • Credits Video: Tom Waits | In the Neighborhood | Promo Video | Directed by Haskell Wexler | 1983 Audio: Tom Waits | In the Neighborhood | 2023 Remaster | Recorded in August 1982 at Sunset Sound, Hollywood, CA | From the album Swordfishtrombones | Originally released 1 September 1983 Musicians: Tom Waits | lead vocals, production Randy Aldcroft | baritone horn Victor Feldman | Hammond B|3 organ, snare drum, bells Stephen Taylor Arvizu Hodges | drums, parade drum, cymbals Dick "Slyde" Hyde | trombone Bill Reichenbach | trombone Larry Taylor | double bass • Always more videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe NachosVideos.com Facebook.com/TheNachoVideos Youtube.com/NachoVideo DailyMotion.com/NachosVideos Instagram.com/NachoVideo Twitter.com/NachosVideos ok.ru/nachovideo Patreon.com/nachosvideos TheNachoVideos@gmail.com I edit, therefore I am #Tom Waits #IntheNeighborhood #Swordfishtrombones

On this day 45 years ago, the 30 June 1978, David Bowie played the 2nd of 3 shows at London's Earls Court. That show and the one on the following night, were filmed for an intended concert movie. This is a short documentary about those shows, which also attempts to answer the question: “Whatever happened to the STAGE movie?” This film combines live footage from the Earls Court shows and others from the ‘78 tour, plus material from TV and radio shows, with music from the Welcome to the Blackout album and other sources. • The David Bowie Isolar II 1978 World Tour, also known as The Low / Heroes World Tour or The Stage Tour, hit London in summer 1978. Three nights were played at the Earls Court Arena, 29 & 30 June & the 1 July. The never-completed and never-shown David Bowie-produced, David Hemmings-directed STAGE movie, was shot at two of the Earls Court shows. The forty+ years old undigitised reels for which were, until recently gathering dust at the Bowie archive. The STAGE movie is perhaps the ultimate lost treasure of the Bowie cannon. For decades it’s been the subject of much speculation among fans, who are desperate to see it. • When I started this project in 2016, I wanted to make use of the various bits of Earls Court footage and other sources from the ‘78 UK tour. I soon became hungry for information about the mythical STAGE movie, shot at the Earl’s Court shows. David Bowie had of course passed away in 2016 and David Hemmings in 2007. So how could definitive information be found? Bowie ‘78 collector Mike Jewell suggested contacting Rory MacLean, Hemings assistant during that era. I contacted Rory, who is now a celebrated author. He was very forthcoming, providing me with an abundance of information. He knew intimately the story of the film and the original hopes and intentions for it, and the reason why it was not released. A year or so later we met up and became fast friends. Eventually Rory and I decided to approach the Bowie Estate with an offer to remake the STAGE movie from scratch, the way Bowie had originally intended it. We sent the Estate a comprehensive thoroughly researched 3,000 word proposal. But unfortunately no response was received. I went back to my own humble Earls Court project. I decided to incorporate into it something of the events that led to the films production and eventual abandonment. Still, with so little footage available, and uneven audio sources, I was unable to complete it. When Welcome to the Blackout, an official live album recorded at the Earls Court shows was released in 2018, more possibilities presented themselves. But there was still a deficit of visual material and the results were unsatisfactory. Despite that, in 2022 I produced a semi-finished 20-minute rough-cut “Part 1”, and premiered it at the David Bowie World Fan Convention, in Liverpool. Shortly after that, actual footage shot by the Hemmings crew, intended for the STAGE movie, surfaced in Brett Morgen’s film Moonage Daydream. Utilising some of that footage, I swapped out some scenes in my “Part 1” that had formerly used poor sources. • It is strongly rumoured, almost a certainty as far as I’m concerned, that Brett Morgen is creating a new concert movie from the STAGE film footage. Assuming that concert film does indeed surface, my little documentary will become rather superfluous. So I feel some impatience to get it out. A few weeks ago, I showed the present version at the David Bowie World Fan Convention, in NYC. And now, finally it’s online. Thanks for watching, hope you dig it! • Video: LWT David Bowie Special | 1978 Moonage Daydream | 2022 | Brett Morgen Live in Tokyo | 1978 Live on Stage | Dallas | 1978 | Stanley Dorfman Northern Lights | Tyne Tees | 1978 Reporting Scotland | BBC | 1978 Various Super 8 1978 tour footage Audio: David Bowie | Joe the Lion [Soundcheck Rehearsal] | from Alabama Song 7” | Recorded Earls Court | 1 July 1978 | Mixed By John Prestage David Bowie | Warsawa | “Heroes” | What in the World | Blackout | Beauty and the Beast | 5 Years | from Welcome to the Blackout | Recorded 30 June & 1 July 1978 | Produced by David Bowie | Mixed by David Bowie & David Richards Interview with Nicky Horn | Capital Radio | 1979 Musicians: David Bowie | Vocals Dennis Davis | Drums Carlos Alomar | Rhythm guitar, backing vocals George Murray | Bass, backing vocals Adrian Belew | Lead guitar, backing vocals Simon House | Violin Sean Mayes | Piano, backing vocals Roger Powell | Keyboards, backing vocals Documents, photos courtesy Rory MacLean • Always more videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe NachosVideos.com Facebook.com/TheNachoVideos YouTube.com/NachoVideo DailyMotion.com/NachosVideos Instagram.com/NachoVideo Twitter.com/NachosVideos Patreon.com/nachosvideos TheNachoVideos@gmail.com

A new restoration of an early Smiths TV show appearance - seemingly never broadcast - miming to their wonderful 2nd single, This Charming Man. • The Smiths single This Charming Man was released forty years ago, 31 October 1983. In 2007, Noel Gallagher of Oasis said of the first time he heard the track: "The second I heard 'This Charming Man' everything made sense. The sound of that guitar intro was incredible. The lyrics are fuckin' amazing, too. People say Morrissey's a miserable cunt, but I knew straight away what he was on about." My relationship with The Smiths music started on this month, 40 years ago, 19th of May 1983. They were supporting The Fall at the Electric Ballroom in Camden. But I confess, I don’t think I paid them much attention, because I have zero recall of their set. And the fact is, I was there for The Fall, probably my favourite band at the time. Then a little later in ‘83, I was working behind the counter at Virgin Records, Croydon High Street, when This Charming Man came out. As a depressed, anxious 17 year old, with a broad musical taste, I was profoundly impressed with the record, and I played it in the store several times a day. Perhaps I was still regularly playing it months later, because I remember in April ‘84 receiving an anonymous valentines card at the shop with the inscription, “To This Charming Man from a Wonderful Woman”. Wiki : This Charming Man is defined by Johnny Marr's jangle pop guitar riff… However, Marr’s sound was not so simple to create. In a 1993 interview, in Guitar Player magazine, Marr stated, “… it was the first record where I used those highlife-sounding runs in 3rds. I'm tuned up to F# and I finger it in G, so it comes out in A. There are about 15 tracks of guitar. People thought the main guitar part was a Rickenbacker, but it's really a '54 Tele. There are three tracks of acoustic, a backwards guitar with a really long reverb, and the effect of dropping knives on the guitar – that comes in at the end of the chorus.” Lyrically, the song featured Morrissey's characteristically morose lyrics… Feeling detached from the early 1980s mainstream gay culture, Morrissey wrote This Charming Man to evoke an older, more coded and self-aware underground scene. The singer said of the song's lyrics: "I really like the idea of the male voice being quite vulnerable, of it being taken and slightly manipulated, rather than there being always this heavy machismo thing.” It’s hard to adequately state how important The Smiths were, during their ‘83 to ‘87 existence. The combination of Johnny Mar’s inventive virtuoso guitar, Morrissey’s uniquely eloquent and sensitive lyrics, and Andy Rourke and Mike Joyce's crisp rhythm section, not only gained them high praise from critics, but also an apparently never ending string of hit records - during those years The Smiths released over 20 singles, all hits and all uniformly great. • As most people reading this will already know, The Smiths bassist, Andy Rourke passed away this month (in fact exactly 40 years since the night I first saw The Smiths). I wanted to restore and put out this video immediately, but didn’t have the time until now. In some ways, this TV appearance makes for a more satisfactory video than the official one, which is online in poor quality, and bizarrely never shows us a close up of Johnny Marr’s face - he’s mostly seen from the neck down, with closeups of his guitar. Was Johnny having a bad hair day, one wonders? Anyway, look out for the nice Andy Rourke moment about two thirds of the way into the video, when a large blue-screen triangle (showing stills of French actor Jean Marais from Jean Cocteau’s 1950 movie, Orpheus, as featured on the sleeve of This Charming Man) slowly lowers from the ceiling and Andy, in a very good naturedly way, ducks to the side trying to keep his head in the shot. RIP Andy Rourke 17 January 1964 – 19 May 2023 Thanks for watching, hope you dig it! • Credits Video Source: The Smiths | This Charming Man | Generation 80 | RTBF (Radio-télévision belge de la Communauté française) | 1983 | Not broadcast Audio Source: The Smiths | This Charming Man | Recorded Strawberry Studios, Manchester | October 1983 | Released on Rough Trade Records | 31 October 1983 Musicians: Johnny Marr | Guitars Morrissey | Vocals Andy Rourke | Bass Mike Joyce | Drums John Porter | Production • Always more videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe NachosVideos.com Facebook.com/TheNachoVideos YouTube.com/NachoVideo DailyMotion.com/NachosVideos Instagram.com/NachoVideo Twitter.com/NachosVideos ok.ru/nachovideo Patreon.com/nachosvideos TheNachoVideos@gmail.com I edit, therefore I am #TheSmiths #ThisCharmingMan #JohnnyMarr #Morissey #AndyRourkeRIP

The opening scene from the 1983 erotic vampire movie, The Hunger, that starred Catherine Deneuve and David Bowie, recut to an edit of Bauhaus Bela Lugosi’s Dead, from the 1982 live album, Press the Eject and Give Me the Tape. The Hunger was released 40 years ago today, the 29th of April 1983. • Let's go toast the twilight at the old horror house, It's a graveyard, the music's loud, the future's bleak. - I Love You But You’re Dead by Mark Eitzel David Bowie: "the first twenty minutes rattle along like hell - it really is a great opening." Susan Sarandon, who also starred in The Hunger: "The thing that made the film interesting to me was this question of, 'Would you want to live forever if you were an addict?' But as the film progressed, the powers that be rewrote the ending and decided that I wouldn't die, so what was the point? All the rules that we'd spent the entire film delineating, that Miriam lived forever and was indestructible, and all the people that she transformed [eventually] died, and that I killed myself rather than be an addict [were ignored]. Suddenly I was kind of living, she was kind of half dying... Nobody knew what was going on, and I thought that was a shame." Tony Scott’s directorial debut, The Hunger has become a cult classic and at the same time has been routinely criticised over the years, for being an exercise in style over substance, and having a nonsensical plot. Seeing it back in 1983, the main problem I had with it was that after the very exciting beginning, my hero David Bowie rapidly ages and not long into the movie, is soon dead (or undead. Or something). After the post-Scary Monsters lull, suddenly in early spring 1983, we had the prospect of 2 movies starring Bowie, and a new album. It felt like an exciting moment for this Bowie fan. But both films were to my mind, uneven and unsatisfactory, and as for the new album, well, let’s just not go there. The first of those two movies, The Hunger was shot in 1982, and is perhaps the last time we got a good look at the uber cool Bowie whom I had loved since the late 70’s, before he succumbed to the big bucks, and his supreme art devolved into another bland Eighties soft rock has-been act. The opening scene of The Hunger is set in a NYC nightclub [tho in reality it was at Heaven, in London]. Pete Murphy is seen massively vamping it up to the quintessential Bauhaus tune, as Deneuve and Bowie enter the club, hungrily looking around for some young things to feast on. Deneuve looks fabulous in Yves Saint Laurent, whilst Bowie sports cool shades and jet black hair / wig. They pick up a hot young couple up at the nightclub and take them back to their home, under the apparent premise of some serious partying. The doomed couple are played by John Stephen Hill and Ann Magnuson. I felt the material could be stretched into a full length video for Bela Lugosi’s Dead. It turned out that there was not enough visual material to do that, so I have edited the track down, following some of the edits made to it in the movie soundtrack. But whereas in the film, the track is interrupted by snatches of dialogue and other music, and after a couple of minutes fades away altogether, I continue until the end of the song, with the young couple being murdered as the song peaks. Thanks for watching, hope you dig it! • Credits Video Source: The Hunger | Directed by Tony Scott | Starring Catherine Denueve and David Bowie | Bauhaus scenes shot at Heaven Nightclub, London | 1982 | The Hunger released 29 April 1983 Audio Source: Bauhaus | Bela Lugosi’s Dead | Recorded live at the Old Vic, London | 24 Feb 1982 | From the album Press the Eject and Give Me the Tape | ℗ & © 1982 Beggars Banquet Musicians: Daniel Ash | Guitar Peter Murphy | Vocals Kevin Haskins | Drums David J | Bass Bauhaus | Production • Always more videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe NachosVideos.com Facebook.com/TheNachoVideos YouTube.com/NachoVideo DailyMotion.com/NachosVideos Instagram.com/NachoVideo Twitter.com/NachosVideos ok.ru/nachovideo Patreon.com/nachosvideos TheNachoVideos@gmail.com I edit, therefore I am #Bauhaus #BelaLugosisDead #The Hunger #DavidBowie #CatherineDenueve #HeavenNightclub #TonyScott

A newly restored HD version of this classic live performance from March 1987. • "Great artists will survive, whatever the milieu in which they paint or write is. Nonetheless, they can't help reflecting some of the milieu in which they arise, even if they do so rebelling against it, because that will also be out of the culture from which they come." - Iain McGilchrist, 28 February 2023. Running Up That Hill was Kate Bush’s 13th UK single, released in the UK on 5 August 1985. The single was the first taste of her forthcoming Hounds of Love album, which would be released a month later, on 16 September. Running Up That Hill was a considerable hit single, peaking at #3 in the UK singles chart in late August that year. And it was her biggest – and pretty much her only - hit single in America, peaking at #30 on the Billboard Hot 100. Running Up That Hill was a startling track in it's day. On first hearing, it was immediately quite obvious that Kate Bush had made a quantum leap forward in her art. She had seemingly rebelled against her signature sound and completely reinvented herself. Nowadays, tho' recognizable as originating from that mid-80's framework, it is almost universally acknowledged as a timeless classic. Indeed, it still sounds so fresh and exciting, it's hardly surprising that the song's inclusion in a 'Stranger Things' episode last year caused such a stir. Musician Rick Beato breaks down the musical components of Running Up That Hill, in his characteristically enthusiastic, informative and entertaining fashion in this great video : https://youtu.be/pwZysZPIrYI • Kate Bush did not tour the Hounds of Love album. In fact, she had an almost non-existent touring life after the 28-show 1979 ‘Tour Of Life’. Running Up That Hill was played live a year and a half after it’s release, in March 1987, at the Amnesty International charity concerts, ‘The Secret Policeman’s Third Ball’. The next time it would be played live was in 2014, at Kate Bush’s ‘Before The Dawn’ shows. The London Palladium performances featured Pink Floyd’s David Gilmour on guitar. Gilmour had helped the 14-year old Kate Bush record demos in 1973. He was instrumental in getting EMI to sign her, culminating in the 1978 debut album, The Kick Inside which Gilmour co-produced. Along with Gilmour, the band featured Stuart Elliot on drums. Elliot was the original drummer for Steve Harley and Cockney Rebel. He played drums on The Kick Inside and many subsequent Kate Bush albums, including The Hounds of Love and Running Up That Hill. Kevin McAlea played Keyboards for the Palladium shows. He had performed with Kate Bush, on her 1979's "The Tour of Life", and would do so again much later for the 2014, "Before the Dawn" shows. Tony Franklin was the young guy on fretless bass with the fabulous 80’s hairdo. Check out this great little video of Tony talking about how the gig came together for him, and the others: https://youtu.be/WBzFHJhkILg • There are many versions of this performance online. I’ve put the master source through various processes to try to get the best out of it. Plus for the first time, the footage is synched with original HQ audio from the 1987 CD release. Whereas all the existing versions use the movie audio, which isn’t great quality, and is running at the wrong speed. Thanks for watching, I hope you dig it! • Sources Video: The Secret Policeman’s Third Ball | 1987 | Directed By Ken O’Neill | Produced by Tony Hollingsworth and Neville Bolt | Cinematography by Stephen Foster | Film Editing by John Hackney | An Elephant House Production | Virgin Films | 1987 Audio: Kate Bush | Running Up That Hill | Recorded Live at The London Palladium | 26–29 March 1987 | The Secret Policeman's Third Ball (The Music) CD | Virgin Records | 1987 | Published By Kate Bush Music Ltd. (UK) EMI Records Ltd. (USA) EMI America Inc. Musicians: Kate Bush | Vocals David Gilmore | Guitar Tony Franklin | Bass Stuart Elliot | Drums Kevin McAlea | Keyboards Rupert Hine | Production • Big thanks to Gary at Pulse, for managing to unearth a copy of the now ultra-rare Secret Policeman's Third Ball (The Music) CD. Pulse Records - a great source for rare and sought-after vinyl and CDs http://www.pulserecords.co.uk/ • Always more videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe NachosVideos.com Facebook.com/TheNachoVideos YouTube.com/NachoVideo DailyMotion.com/NachosVideos Instagram.com/NachoVideo Twitter.com/NachosVideos Patreon.com/nachosvideos TheNachoVideos@gmail.com I edit, therefore I am #KateBush #RunningUpThatHill #DavidGilmour #SecretPolicemansBall

Today it is 40 years since David Bowie’s Serious Moonlight tour commenced its 2-month North America leg, on the 11 July 1983. The 1983 Serious Moonlight concert film (and later live album) was shot on the North America leg of the tour. In my opinion that film leaves quite a lot to be desired, including omitting some of the better songs performed on the tour. Stay’s omission was particularly unfortunate, because the Slick–Alomar-Roja-Thompson band do a great job on one of Station to Station's standout tracks. And it was the first time that Earl Slick, got his chance to let rip live on stage, on his signature Bowie tune, after having been ousted from performing on the Station to Station tour seven years earlier. So, late last year it was great to see the upload of a previously unseen complete 1983 live show, professionally shot at Sydney Showgrounds: https://youtu.be/FLWsmz49yBg. Here is the back story of the material, sent to me by the uploader, Steve Cave: “For the final Australian concert of the 1983 tour a video recording was made by the camera crew that were used for the show. As I knew some of them, I was able to make a Betamax copy of that video. This ended up being the only copy, as the original was subsequently lost. I have looked after the tape for nearly 40 years, and it remained unseen until I recently had it transferred to digital format. “This concert is special as it was the last Australian show of the tour, and as much as the band is incredibly tight, they also appeared to really enjoy themselves, grinning, punching or even tickling each other. The latter part of the show was performed under a rising full moon, which was appropriate, being The Serious Moonlight tour. “I am hoping to have the original tape restored further and extract the stereo soundtrack, if it is there. It would be great to have a cleaned-up version in time for the 40th anniversary in November.” I have been communicating with Steve about the material and how it might be improved. In the meantime he has allowed and encouraged me to do my thing to Stay and upload it to my channel. I have applied all the usual methods to improve sound and vision. My favourite audio partner in crime Particledots separated out vocal and music, allowing more scope to improve the flat and narrow audio. That also meant I could edit out the messed up bridge / DB vocal flub between intro and first verse. Hopefully Steve can successfully get a better transfer made of his material soon. In the meantime, here’s my optimized version of Stay. Thanks for watching, hope you dig it! • Credits Video and Audio Source: David Bowie | Stay | Live at the Sydney Showgrounds | 20 November 1983 | Courtesy of Steve Cave / Trog601 https://youtube.com/@Sunbirds2soarwith Musicians: David Bowie | lead vocals Earl Slick | guitar Carlos Alomar | guitar, backing vocals Carmine Rojas | bass guitar Tony Thompson | drums Dave Lebolt | keyboards, synthesizers Steve Elson | saxophones Stan Harrison | saxophones, woodwinds Lenny Pickett |saxophones, woodwinds George Simms | backing vocals Frank Simms | backing vocals • Always more videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe NachosVideos.com Facebook.com/TheNachoVideos YouTube.com/NachoVideo DailyMotion.com/NachosVideos Instagram.com/NachoVideo Twitter.com/NachosVideos ok.ru/nachovideo Patreon.com/nachosvideos TheNachoVideos@gmail.com I edit, therefore I am #DavidBowie #Stay #SeriousMoonlight #EarlSlick #CarlosAlomar

A newly restored HD version of one of Bruce Conner’s official promo films he produced for two tracks from the 1981 Eno-Byrne collaboration album, My Life in the Bush of Ghosts. • Eno and Byrne first worked together on Talking Heads 1978 second album, More Songs About Buildings and Food. My Life in the Bush of Ghosts was Byrne's first album without Talking Heads. It was primarily recorded during a break between the Talking Heads albums Fear of Music (1979) and Remain in Light (1980), also both produced by Eno. Problems clearing samples delayed the release of Bush of Ghosts by several months. The album was incredibly innovative and original in its day, integrating sampled vocals and found sounds, African and Middle Eastern rhythms, and electronic music techniques. Eno described My Life as a "vision of a psychedelic Africa". Rather than conventional singing, most of the vocals are sampled from other sources, such as Arabic singers, radio presenters, and in the case of the track Jezebel Spirit, an exorcist. Some musicians had previously used similar sampling techniques, but according to Guardian writer Dave Simpson, sampling had never before been used "to such cataclysmic effect". Track 2 on the album, Mea Culpa, featured a vocal sample of “inflamed caller and smooth politician replying, both unidentified; radio call-in show, New York, July 1979”, according to the album sleeve notes. http://davidbyrne.com/explore/my-life-in-the-bush-of-ghosts • The official short films accompanying two Bush of Ghosts tracks, America Is Waiting and Mea Culpa, were made by Bruce Conner, an American artist who worked with assemblage, film, drawing, sculpture, painting, collage, and photography. Conner’s innovative technique of skillfully montaged shots from pre-existing borrowed or found footage can be seen in his first film “A Movie” (1958). His subsequent films are most often fast-paced collages of found footage or of footage shot by Conner; however, he made numerous films, including Crossroads, his 30-plus-minute meditation on the atom bomb, that are almost achingly deliberate in their pace. Conner was among the first to use pop music for film soundtracks. His films are now considered to be the precursors of the music video genre. They have inspired other filmmakers, such as Conner's friend Dennis Hopper, who said, “Bruce’s movies changed my entire concept of editing. In fact, much of the editing of Easy Rider came directly from watching Bruce’s films." David Byrne initially wrote to Conner around August 1980, asking him if he would be interested in creating a video for a track from the then-forthcoming new Talking Heads album, Remain in Light. Perhaps record company pressure came to bear, to create more commercially viable videos? Anyway, Conner's found footage, abstract cut and paste is a superb match for the Bush of Ghosts material. Bruce Jenkins, Professor of Film, at the School of the Art Institute of Chicago: “Mea Culpa comes near the end of his (Conner’s) active film-making. It’s part of this period when his work is a little slower, a little more considered. There’s a kind of tranquillity… Mea Culpa allows Conner to work with scientific and industrial and educational films, and take out of them the most abstract parts”. Conner's other collaborations with musicians include Devo (Mongoloid), Terry Riley (Looking for Mushrooms (long version) and Easter Morning), Patrick Gleeson and Terry Riley (Crossroads), and three more films with Gleeson (Take the 5:10 to Dreamland, Television Assassination, and Luke). His film of dancer and choreographer Toni Basil, Breakaway (1966), featured a song recorded by Basil. https://www.theguardian.com/artanddesign/2008/oct/09/art1 • Thanks for watching, I hope you dig it! • Sources Video: MEA CULPA by Bruce Conner | 1981, 16mm, b&w | sound, 5 minutes | Courtesy and (c) Conner Family Trust. Audio: Brian Eno-David Byrne | Mea Culpa | from the album My Life in the Bush of Ghosts | Recorded 1979–1980 | Released February 1981 | Written by David Byrne and Brian Eno, WB Music Corp. (ASCAP) o/b/o Itself and Index Music, Inc. (ASCAP) Universal Music - MGB Songs on behalf of E.G. Music Ltd. (ASCAP) |Performed by Brian Eno and David Byrne | Courtesy of Nonesuch Records, by arrangement with Warner Music Group Film & TV Licensing. Musicians: David Byrne | Brian Eno | guitars, bass guitars, synthesizers, drums, percussion, found objects |Production Dennis Keeley | bodhrán • Always more videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe NachosVideos.com Facebook.com/TheNachoVideos YouTube.com/NachoVideo DailyMotion.com/NachosVideos Instagram.com/NachoVideo Twitter.com/NachosVideos Patreon.com/nachosvideos TheNachoVideos@gmail.com I edit, therefore I am #BrianEno #DavidByrne #MyLifeintheBushofGhosts #BruceConner #MeaCulpa

Here is a newly restored version of the incendiary Patti Smith Group OGWT performance of 25th Floor, recorded live at the BBC Television Theatre, 45 years ago on this day, 3rd of April 1978. At the time the band were touring to support their new album Easter, and this performance happened whilst the band were in London for a 4-night residency at the Rainbow Theatre. Also at that time, Because the Night was a hit single, riding high in the UK and the US charts. • I don’t feel qualified to comment on the meaning of 25th Floor. Patti Smith’s own website offers tributes to each of her pet dogs, but seemingly nothing about her songs. The following is the only significant thing I could find on the web about the song: “Patti Smith's song "25th Floor" is a song about the rigid structure of society. In the beginning of the song, the ladies' room has lost electricity, so they explore the men's room, at which she says "we don't give a shit." which means that they don't care what others think about what they are doing. This introduction, when taken in the context of the entire song, gives the song heavy undercurrents of anarchism and feminism. Going into the men's room symbolizes their rejection of social rules and, at the same time, of the segregation between men and women, where men are almost always "superior," as symbolized by the men's room having electricity while the ladies' room does not. She then wants to explore the 25th floor, which may symbolize her desire to ascend and escape from the bounds of social convention. Zeus and Christ, who are "up there," are then mentioned Zeus and Christ are both masculine figures, and both are "at the top." Thus these two figures represent the whole of what anarchism and feminism wants to remove from society, which is patriarchy and rigid social hierarchy. She wants to destroy the "veil of smoke" which man calls order (again, patriarchy and social hierarchy). She then speaks of the "transformation of waste," where "waste" refers to the current evils in society. The desire to create something valuable from something worthless is inside all of us-this refers to the noble intentions of people, which oftentimes become misdirected. She says that "all must not be art; some art we must disintegrate," which means that however valuable the current social structure may seem to be, it may be worth it to destroy it and try something else. She then says that she is "waiting above for you baby," meaning that she is waiting for the rest of humankind to "see the light." She is then "...floating... on boundaries over this world," meaning that she has, is some way, escaped from the rigid structure of society, although she is "floating," which is a way of saying that she is somewhat helpless and cannot really control her environment. All she can do is wait.” https://blablawriting.net/figurative-language-in-the-song-25th-floor-by-patti-smith-essay • This video includes a short excerpt from a Patti Smith interview by Lisa Robinson, from the Midnight Special broadcast of the OGWT performance. Watch th