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

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 the complete interview on the YouTube channel: What's for afters? https://www.youtube.com/watch?v=goaxO3mynJQ • The YouTube copyright algorithm blocked my upload of the complete 1978 Patti Smith Group OGWT performance, that included Because The Night. From that OGWT performance, here at least is 25th Floor, for which I’ve tried to create an optimized sound and vision HD version for us to enjoy. Thanks for watching, I hope you dig it! • Sources Video and Audio: Patti Smith Group| 25th Floor | Live on the Old Grey Whistle Test | BBC Television Theatre, London | 3 April 1978 | Broadcast 4 April 1978 | Sound by Ken Gregory | Directed by John Burrowes | Produced by Michael Appleton Excerpt from a Patti Smith interview with Lisa Robinson for a Midnight Special rebroadcast of the OGWT performance | 1978 Musicians: Patti Smith – vocals Lenny Kaye –bass guitar, vocals Jay Dee Daugherty – drums, percussion Ivan Král – guitar Bruce Brody – keyboards, synthesizer • 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 #PattiSmith #25thFloor #Easter #OldGreyWhistleTest

A new previously unreleased video of Nico performing her first single, I’m Not Saying, cut from recently surfaced raw 16mm footage, shot in the UK in 1965. • In 1965 The Rolling Stones' manager Andrew Loog Oldham and his business manager Tony Calder, set up Immediate Records. The label signed artists such as Rod Stewart, Small Faces, The Nice and Fleetwood Mac. One of the first releases on the label, IM003 in fact, was I'm Not Sayin', the debut record by German model and actress Nico. I'm Not Sayin' was a song written and recorded by Gordon Lightfoot, that was released in early 1965. Nico’s version was recorded in May of that year, at Regent Sounds, in Denmark Street, London. It is disputed who produced and played on the track. Andrew Loog Oldham has been credited as producer. But Oldham himself is quoted as saying it was Jimmy Page (later of the Yardbirds and Led Zeppelin) who produced, and played guitar. Page was then a 21-year-old session guitarist who had been recruited by Oldham as Immediate’s house producer. Other sources say that it was Brian Jones of the Rolling Stones playing guitar on the track. At that time, Jones and Nico were dating, which lends some credibility to that. Another source states that the track features a combination of Jones and Page on guitar. David Whitaker is credited as conductor of the orchestra, elsewhere also as arranger. David Whitaker’s sound is widely known for his instantly recognisable strings, on the Andrew Oldham Orchestra’s 1965 track The Last Time, which 30 years later, became the basis of the Verve’s Bittersweet Symphony. • There is an existing promo film for Nico’s I’m Not Sayin’, that was shot at London’s West India Docks. Poor quality versions of the promo have been on YouTube for several years. About 2 years ago, 6 minutes of extraordinary footage of Nico appeared on the Kinolibrary YouTube channel, an independent archive film agency: https://youtu.be/IsSTVqN8xmY The uploaded footage is excellent quality, superbly lit and shot, and considering it was over fifty years old, shows virtually no signs of deterioration or mishandling. The clip is described simply as, “1960’s UK, Nico performing at home 16mm”. It is said that Nico was living at Paul McCartney’s London home at the time. Therefore, is it possible that the footage was shot there? Paul, if you’re reading (!) can you please confirm either way? The Kinolibrary footage is silent, and no clues are offered in the video description as to what Nico may have been performing. A few commentators on the YouTube upload postulated about what song she might be singing. Last year, Ada K. reached out to me, saying that they had identified the song Nico was performing in the clip as I’m Not Sayin’. Ada K. asked me if I was interested in trying to synch the footage to the song, and moreover see if it would be possible to create a music video for the song from the raw footage. As a lifelong Velvet Underground fan, and someone long beguiled and intrigued by the enigmatic and beautiful Nico, I gratefully accepted the suggestion. Ada K. studied the footage carefully, and identified for me most of the lines of the song Nico was singing during which parts of the footage. That was invaluable in helping me expedite the synching process. There were a few parts of the song where no usable footage was included in the silent reel. But with imagination, patience and modern technology, I was able to adequately get around those issues. Then, after a few hours of trying out some basic cuts, it became clear to me that that this was potentially a great project, and a very significant find. I wrote to Ada K. : it's great to see this beautiful footage of her looking exactly as she does with Velvets a year or so later. And tho the syncing is boring, slow work, it's truly wonderful when a sync falls into place and suddenly she's singing, I'm not sayin'... And so now we have a brand new, never before seen high-quality video for Nico’s classic debut single, I’m Not Sayin’. Thanks for watching, I hope you dig it! • Sources Video: Nico | Silent Reel | Director & Cinematographer Unknown | UK | 1965 | From the KinoLibrary Archive | Clip AB353 Audio: Nico | I’m Not Sayin’ | Immediate Records | 1965 | Chelsea Music Publishing (P) 1965 Andrew Loog Oldham Production for Andesound Musicians: Nico | Vocals Jimmy Page | Brian Jones | Guitar David Whitaker | Arrangement and orchestra conductor Andrew Loog Oldham | Jimmy Page | 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 Patreon.com/nachosvideos TheNachoVideos@gmail.com I edit, therefore I am #Nico #ImNotSayin #JimmyPage #AndrewLoogOldham

A quickly thrown together edit of David Bowie, the Spiders and Jeff Beck performing at the Hammersmith Ziggy farewell show. It wasn’t possible to create a satisfactory video of the entire track, so here is just the last three and a half minutes, of jamming basically. Created and uploaded upon hearing of the death of legendary guitarist, Jeff Beck. RIP Geoffrey Arnold Beck 24 June 1944 – 10 January 2023 • Credits Video Source: David Bowie | feat. Jeff Beck | Love Me Do-The Jean Genie Excerpt | Hammersmith Odeon | London | 3rd of July 1973 | From David Bowie A London Show | Directed by D.A. Pennebaker | 1974 | Moonage Daydream | Directed by Brett Morgen | 2022 Audio Source: David Bowie | Medley- The Jean Genie - Love Me Do - The Jean Genie (Live) [feat. Jeff Beck] | Hammersmith Odeon | London | 3rd of July 1973 | From the Moonage Daydream soundtrack | 2022 Musicians: Vocals & harmonica | David Bowie Guitar | Jeff Beck Guitar | Mick Ronson Bass | Trevor Bolder Drums | Woody Woodmansey Piano | Mike Garson Producers | David Bowie | Tony Visconti • 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 #JeffBeck #ZiggyStardust #HammersmithOdeon #MoonageDaydream #MickRonson #1973

This is a new video I have created for the 1971 song, It’s Great to Be Here, by the Jackson 5. The visual material has been recycled from episodes of the early ‘70’s cartoon TV series “The Jackson 5ive”. • It’s Great to Be Here is a track from the fifth studio album by the Jackson 5, Maybe Tomorrow. The album was released on April 12, 1971 by Motown Records. Released after the success of the hit ballad "I'll Be There", most of the tracks on the album are ballads, with few dance numbers. The album includes the hit singles "Never Can Say Goodbye" and "Maybe Tomorrow". While not as financially successful as the Jackson 5's first three outings, Maybe Tomorrow contains some of the most often-sampled and covered material in the group's catalogue. The album spent six weeks at No. 1 on the US Soul Albums chart. • In 1987 I was a big fan of the new American hip hop sounds. I was working at a Virgin Records store in London at the time, buying records by the likes of Public Enemy, Eric B & Rakim, Boogie Down Productions, EPMD etc from the import vans that would regularly visit the store. Anything on Rick Rubin and Russell Simmons label Def Jam was favoured. I remember a customer coming to the store asking about a big tune on Def Jam called Can U Feel It? by Original Concept, a Rick Rubin produced sample-led track. The customer wanted to know the source of, as he put it, “that break that kinda sounds like bells” in Can You Feel It? He said he thought it was from an old Jackson’s record. We both knew the “Can you feel it?” vocal sample was from a Jackson’s record, but I couldn’t help him identify where the “bells” break was sampled from. Shortly after that, a series of import albums called Ultimate Beats and Breaks (UBB) started appearing. Released by Street Beat Records, the UBB series was edited by DJ and crate digger "BreakBeat Lou" Flores. It featured the original tracks of the drum breaks popularized by the new hip hop records. In turn, a new UBB release in the series usually led to many new hip hop records featuring samples of the breaks. On UBB Volume 7, along with tracks by James Brown, Esther Williams, Dexter Wansel and others, was a funky uplifting mid tempo pop soul track called It’s Great to Be Here. This song was the source of my customers “bells” break. But not only that, it was a brilliant joyous track that I quickly fell in love with. The song was simply credited to The Corporation, which I later discovered was a group of songwriters and record producers assembled in 1969 by Motown label head Berry Gordy to create hit records for the label's new act, The Jackson 5. Back then of course there was no internet, let alone a song identifying app like Shazam. The lead vocal was pretty obviously a young Michael Jackson, but beyond that, I didn’t know any other details. Not that it really mattered, It’s Great to Be Here was a wonderful little tune that I started dropping into my amateur DJ sets in the late 80’s and early 90’s. I used it as a bit of light relief from the contemporary house / techno / breakbeat material that predominated in my sets. I’ve never stopped loving It’s Great to Be Here. A couple of years ago, I decided there needed to be a worthy video for it. After much head scratching and faffing around, I skim-watched the entire Jackson 5ive cartoon series, and found some suitable material to recycle, including from an episode that actually featured my tune. And so, finally here’s my video for It’s Great to Be Here. Thanks for watching, hope you dig it! • Credits The Jackson 5 Jackie Jackson | lead vocals, tambourine, percussion Tito Jackson | vocals, lead guitar, synthesizer Marlon Jackson | vocals, conga, tambourine, percussion Michael Jackson | lead vocals, conga, percussion Jermaine Jackson | lead vocals, bass guitar Audio Source: Jackson 5 | It’s Great to Be Here | From the album Maybe Tomorrow | Produced by The Corporation & Hal Davis | Composer Lyricist Freddie Perren, Berry Gordy Jr., Deke Richards, Alphonso Mizell | Arranged by Gene Page, James Anthony Carmichael | Recorded June 1970 – February 1971 | Released 12 April 1971 | ℗ 1971 Motown Records, a Division of UMG Recordings, Inc. Video Source: The Jackson 5ive | ABC TV Series | Season 1 Episode 5 “Bongo, Baby, Bongo” | Season 1 Episode 17 “A Rare Pearl” | Directed by Arthur Rankin Jr. & Jules Bass | Produced by Rankin/Bass & Motown Productions | 1971 - 1972 • 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 #Jackson5 #ItsGreattoBeHere #MaybeTomorrow #TheCorporation #Motown

Forty years ago on this day, 17 December 1982, I watched Iggy Pop’s live TV appearance on The Tube, and it totally blew me away. Here’s my new restoration from broadcast sources, of Run Like a Villain from that legendary 1982 Tube appearance. • After the six months touring his Party album, in the latter part of 1981, it seems Iggy took some time out. In June 1982 he was in the studio with his then-mainstay collaborator, Rob Duprey on guitar and keyboard duty, and Chris Stein and Clem Burke from Blondie, on bass and drums respectively. Chris Stein was also on production duty and the results were released in September ’82 as the Zombie Birdhouse album. The album was released on Chris Steins new label, Animal Records, which also released that year the brilliant 2nd album by The Gun Club, Miami. The label folded in 1984 when Chris Stein was struck down by serious illness. Iggy commenced a tour for the Zombie Birdhouse album in October 1982. From the previous touring band, he retained Rob Duprey on Guitar and keyboards, and Michael Page on Bass. He added Larry Mysliwiec on Drums and another Blondie refugee Frank Infante on Guitar. The majority of the shows were in the US and Canada, finishing up in Europe with two shows in Paris, two in London and then finally The Tube TV performance on the 17th of December. • Yes, I am the fuckin’ greatest of all time! To me, Run Like a Villain is up there with Iggy’s greatest tracks, and surely the Tube appearance is one of the finest TV performances of his career. Therefore, it felt absolutely necessary to create a decent quality version, and get it online for it's 40th anniversary. Thanks for watching, hope you dig it! • Credits Video and Audio Source: Iggy Pop | Run Like a Villain | Live on The Tube | 17 December 1982 | UK TV Channel 4 Musicians: Iggy Pop | vocals Frank Infante | guitar Rob Duprey | keyboard Michael Page | bass guitar Larry Mysliwiec | drums • 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 #IggyPop #RunLikeaVillain #ZombieBirdhouse #FrankInfante #RobDuprey #TheTube #ChannelFour

40 years ago, I was mightily impressed by what the NME’s Dave Hill described as the "Phil Spector in Hell” sound of Pornography, the new album by The Cure. Here’s a restoration of the appropriately dark promo video made for Pornography’s only single release, The Hanging Garden. • Borrowed heavily from Wiki: Pornography was the fourth album by The Cure, released on 3 May 1982 by Fiction Records. It was the band's first album with producer Phil Thornalley, and was recorded at RAK Studios in London, from January to April 1982. The sessions saw the band on the brink of collapse, with heavy drug use, band in-fighting, and frontman Robert Smith's depression fueling the album's musical and lyrical content. Pornography represents the conclusion of the Cure's early dark, gloomy musical phase, which began with their second album Seventeen Seconds. During the Pornography period, the band started to develop their trademark image of big hair, smudged makeup and black clothes. Smith applied lipstick smeared around the eyes and the mouth. Under the lights, the lipstick melted, making it look, as Smith later put it "like we'd been smacked in the face". It was supposed to symbolise the violence of the new material, but backstage, another kind of violence had begun to surface from the first dates of the tour. The band performed in the UK in April 1982. NME considered that the show "was all very skillfully deployed: a bruisingly clear sound of scathing force, a clockwork, Pavlovian lightshow, a variegation of light and shade in the song order that builds to the unmitigating force of 'Pornography' itself as the climax". However, the mood on stage was not good, and behind the scenes, Smith's relationship with bassist Simon Gallup was deteriorating. When the tour reached Europe, tension was so high between the two musicians that they had a fight after a concert in Strasbourg. After two more weeks of touring, the band played their final show at Ancienne Belgique, Brussels, on 11 June 1982. Gallup then left the band. The Cure that would reappear in late 1982, with the poptastic radio-friendly new wave single, Let’s Go to Bed, were a very different proposition to the band of the Pornography era. Follow-up singles, 1983’s The Walk and The Lovecats, doubled down on the new premise, and were sizeable UK hit records and omnipresent at all Indie discos back then. • I should include my little Robert Smith story: In late 1981, about the time The Cure were demoing the Pornography material, I was on a train on the way home to Surrey, after an Echo & the Bunnymen gig. Walking the length of the train, my friends and I spotted The Cure’s Robert Smith and his girlfriend (later wife) Mary, sitting in a small compartment. They both looked super cool, to the young teenage me. My friends dared me to go into the compartment and speak to them. And I did. The thing I remember is asking Robert if he’d been to the Bunnymen show. He said that he’d loved it. He also told me that if he wasn’t in The Cure, the only other band he’d like to be in was The Bunnymen. • The video for The Hanging Garden has the band playing in York House Gardens in Twickenham, England, “wearing furs and masks”. Robert Smith recalled: "For the 'Hanging Garden' video we got two people who did Madness videos, but it was a really awful video. They wanted to make us look serious and we wanted them to make us look like Madness.” The Cure still regularly feature The Hanging Garden in their concerts to this day, and the backdrop they use for the song looks like York House Gardens [ https://youtu.be/GoBq66Ovn5I ]. Certainly for me the video is very evocative of that era of The Cure, and the British alternative music scene in general at that time. The YouTube upload of The Hanging Garden on The Cure’s official channel is poor quality with terrible sound. Other fans have had a bash at creating improved versions. Now here’s mine. Thanks for watching, hope you dig it! • Credits Video Source: The Cure | The Hanging Garden | 1982 Promo Video | Directed by Chris Gabrin | (C) 1984 Fiction Records Ltd | Universal Music Group Audio Source: The Cure | The Hanging Garden | From the album Pornography | Recorded January–April 1982 | RAK Studios, London | Released 3 May 1982 | Fiction Records Personnel: Robert Smith | vocals, guitar, keyboards, production, engineering Simon Gallup | bass guitar, keyboards, production Lol Tolhurst | drums, production Phil Thornalley | 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 Patreon.com/nachosvideos TheNachoVideos@gmail.com I edit, therefore I am #TheCure #TheHangingGarden #Pornography #RobertSmith

This video is a newly enhanced version of the David Bowie and Bing Crosby segment, of Bing Crosby’s Merrie Olde Christmas TV Special from 1977. In addition, the Peace On Earth / Little Drummer Boy duet is synced to the great quality re-recording by the London Symphony Orchestra, taken from the Bing Crosby album, “Bing at Christmas”. • The Bing Crosby’s Merrie Olde Christmas show was recorded in Elstree Studios in Borehamwood, near London on the 11th of September 1977. It was originally broadcast that year on the 30th of November, by CBS in the US, and on the 24th of December, by ITV in the UK. From the book “David Bowie The Golden Years’, by Roger Griffin: Bing Crosby, aged 73, was still suffering from spinal injuries following his fall into an orchestra pit in March, when he arrived in London to play two weeks of concerts at the Palladium. He was also there to film his annual Christmas special, this time with an English setting. The producers booked various British guest stars including Bowie’s pin-up Twiggy. Bowie was induced to appear with a promise to include a performance of "Heroes", which he taped at the studios, incorporating a mime sequence. As the two titans of pop barely knew each other, the scriptwriter Buz Kohan prepared a segment set in an English country manor, where Bowie and Bing meet and talk about their Christmas customs, such as singing carols. Bowie would choose Little Drummer Boy (“my son’s favourite”) which they would sing as a duet. However when the time came, as the show’s musical arranger Ian Fraser recalls, “David came in and said, 'I hate this song. Is there something else I could sing?' We didn't know quite what to do.”[Farhi, Paul. Bing And Bowie: An Odd Story Of Holiday Harmony’ (Washington Post, 20 December 2006)] Fraser, Kohan and songwriter Larry Grossman hastened down to the piano in the basement and wrote Peace On Earth as a counterpoint to Little Drummer Boy. After less than an hour of rehearsal Crosby and Bowie performed three takes of the new arrangement, after which Crosby mused, “It's a pretty theme, isn't it?” Bing later said Bowie was "a clean cut kid and a real fine asset to the show. He sings well, has a great voice and reads lines well. He could be a good actor if he wanted." Like Bolan, Crosby never saw his Bowie duet go to air. He died in Spain on October 14 directly after a round of golf (he won). See also this a short video from 2014 of commentary, from Merrie Olde Christmas writers Larry Grossman and Buz Kohan: https://youtu.be/jLzNT0WGQ3Y • Peace on Earth / Little Drummer Boy was released by Bowie’s label RCA as a single in December 1982. Despite David Bowie’s dismay at the release, it was a huge international hit, shifting 400,000 copies in the UK alone, becoming an Christmas classic. And yet, on the 1982 single, and the official Bing Crosby show DVD and even on the 2017 David Bowie Re:Call 3 ‘rarities’ disc, it appears that all we have ever had is a ropey old mono version, presumably taken from the original broadcast tapes. In 2019, I heard the beautifully produced new LSO version. I don't know by what process the vocals were separated from the original backing track, but regardless, in this new version they sound great too. And so I tried to produce a sound and vision refurbishment of this curious old favorite, with help from producer Particledots, who freshened up the sound of the sketch. I uploaded the work to my YouTube channel, and it amassed many views. In September this year, I was served a takedown notice for that video by YouTube, on behalf of the copyright holder of the original material. That is fair enough. I wrote to the copyright holder, offering to give my restored version to them for their own uses / subsequent YouTube upload. I didn’t receive any response. In October, a new upload of the original material, in its usual rough old form appeared on the official Bing Crosby channel. It's December again, and I could not resist uploading another attempt to improve the quality of this incongruous yet charming bit of Seventies Bowie TV that many of us fans have a fondness for. Hope you dig it! Merry Christmas! • Credits Video and Audio Source: David Bowie & Bing Crosby | Bing Crosby’s Merrie Olde Christmas TV Special | Including Peace On Earth / Little Drummer Boy | Produced by Gary Smith and Dwight Hemion | Recorded at Elstree Studios, London | 11th of September 1977 Music video by Bing Crosby, David Bowie performing Peace On © 1977 HLC Properties Ltd. and Primary Wave Music IP Fund 3, LP 116 East 16th Street, 9th Floor, New York, NY 10003. All rights reserved. Unauthorized duplication of this recording prohibited by federal law. Additional Audio Source: David Bowie | Bing Crosby | The London Symphony Orchestra | Peace On Earth / Little Drummer Boy | from the Bing Crosby album “Bing at Christmas” | 2019 ℗ A Decca Records Recording; ℗ 2019 HLC, under exclusive licence to Universal Music Operations / Geffen Vocals | David Bowie Vocals | Bing Crosby Guitar | John Parricelli Background Vocalist | Mary Carewe Background Vocalist | Michael Dore Drums | Neal Wilkinson Conductor | Nick Ingman Celesta, Piano | Rob Mounsey Bass | Steve Pearce Orchestra | The London Symphony Orchestra Producer | Nick Patrick • Always more videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I never monetize. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe NachosVideos.com Facebook.com/TheNachoVideos YouTube.com/NachoVideo DailyMotion.com/NachosVideos OK.ru/nachovideo Instagram.com/NachoVideo Twitter.com/NachosVideos TheNachoVideos@gmail.com I edit, therefore I am #DavidBowie #BingCrosby #Christmas

Upon learning of the death of Stranglers drummer, Jet Black, I’m posting my restoration of the promo video for the Stranglers 1982 single Golden Brown. • “Jean Jacques came to me and said that they didn't believe in producers but they'd heard I was a good radio type producer and they wanted their song to be played on the radio. That was quite nice because I'd taken a year off so I hadn't done any work for a while. We mixed Golden Brown at Good Earth, and within a few weeks… it was being played on the radio every day.” Tony Visconti, 1985 Originally featured on the group's November 1981 album La Folie, Golden Brown was released as a single in January 1982. The song seemed to take on an instant universal appeal, beloved by both alternative music fans and the pop charts. It was played on the BBC Radio 1 John Peel show, and featured in his end of year, “Festive Fifty”. At the same time, David Hamilton, DJ on conservative BBC Radio 2, which was a middle-of-the-road music radio station at that time, made the single his "record of the week". Golden Brown became a top 10 hit around the world, reaching No. 2 in the UK Singles Chart in February 1982, behind the double A-sided single "Town Called Malice/Precious" by the Jam. In a 2017 interview for Dutch television station Top 2000 a gogo, Hugh Cornwell says he believes that the song would have got to Number 1 if bassist Jean-Jacques Burnel had not told the press that the song was about heroin, at which point broadcasters removed it from their playlists, prejudicing sales. "I would have waited till it got to Number 1 and then said it," he commented. In January 2014, NME ranked the song at No. 488 on its list of "The 500 Greatest Songs of All Time". • The video for "Golden Brown" was directed by Lindsey Clennell. It depicts the band members both as explorers in an Arabian country in the 1920s and performers for a fictional "Radio Cairo". And yet to film the video, the band never left England; it was shot at the Leighton House Museum in Holland Park, London. In addition the video is intercut with stock footage of the Pyramids and the Great Sphinx of Giza, in Egypt, Mir-i-Arab Madrasah in Bukhara, the Shah Mosque in Isfahan, Feluccas sailing, Bedouins riding, and camel racing in the United Arab Emirates. It’s really a great little video, of the Stranglers most famous song, and yet there is no upload of it on the band or their label’s official YouTube channels. I’ve been working on this restoration in recent weeks, and was planning to upload it nearer to Christmas. Since hearing the news this morning about Jet Black’s passing, obviously this is the day to upload it. RIP Brian John Duffy, AKA Jet Black 26 August 1938 – 6 December 2022 • Credits Video Source: The Stranglers | Golden Brown | 1982 Promo Video | Directed by Lindsey Clennell | ℗ 2005 Parlophone Records Ltd, a Warner Music Group Company Audio Source: The Stranglers | Golden Brown | From the album La Folie | Recorded August–September 1981 | The Manor Studio (Shipton-on-Cherwell | Released as a single 11 January 1982 | Liberty Records | ℗ 1981 Parlophone Records Ltd, a Warner Music Group Company Personnel: Hugh Cornwell | guitar, lead and backing vocals Dave Greenfield | keyboards Jean-Jacques Burnel | bass, backing vocals Jet Black | drums, percussion The Stranglers | production Steve Churchyard | production, engineering Tony Visconti | mixing • 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 Nacho's Videos YouTube.com/NachoVideo DailyMotion.com/NachosVideos OK.ru/nachovideo Instagram.com/NachoVideo Twitter.com/NachosVideos TheNachoVideos@gmail.com I edit, therefore I am #TheStranglers #GoldenBrown #LaFolie #JetBlack