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. • It’s great be here It’s great he here, in your arms 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 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 #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 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 #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 pretty ropey 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 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 #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

40 years ago this month, 17 - 22 November 1982, Japan were playing a 6-night residency at the Hammersmith Odeon. Here is re-edited and restored footage and audio from the Japan Oil On Canvas video and album, recorded “live” during those shows. • Japan split in December 1982, just as they were beginning to experience commercial success in the UK and abroad, including the March 1982 top 5 hit single "Ghosts". The band’s final studio album Tin Drum had been released in mid-November of the previous year. A few weeks later they had gone on their brief 19-date “Visions of China” UK tour, 7-27 December. Then, apart from a few TV appearances, it seems there was a hiatus in band activities for the first 8-months of 1982. In September 1982, the band rehearsed for what was already known to be their final tour. On 1 October, Japan commenced the “Sons of Pioneers” tour. It was much more extensive than the previous one, taking in Europe, the UK - including the 6 consecutive nights at London’s Hammersmith Odeon - and the Far East. The last ever concert by Japan was in Nagoya, Japan on 16 December 1982. I attended shows on every Japan tour 1980-1982. Because all the shows I saw were at the Hammersmith Odeon, memories of them somewhat merge into one. However, I do remember that Japan were far better when I saw them on the first night of their Hammersmith residency, than they were on the Visions of China tour. One specific grumble I had about that previous tour was Steve Jansen playing an electronic drum kit, which spoiled the older material in my opinion. Thankfully for the Sons of Pioneers tour, Jansen’s proper drum kit had returned. Also, that iteration of the touring band featured a new and very exciting addition: Masami Tsuchiya. Hailing from Japan (the country) Masami Tsuchiya was a fantastically extravagant looking and sounding player. He could very effectively approximate original Japan guitarist Rob Dean’s fluid and sustained guitar lines. But in addition, Tsuchiya added Adrian Belew-esque shrieking guitar (on an equally Belew-esque beat-up looking Stratocaster). I can’t remember if I realised it at the time, but in hindsight it seems to me now that the band were at a live peak on that tour. Oil On Canvas, the double album and home video, based on the Hammersmith Odeon Sons of Pioneers shows, were released in June 1983. Steve Jansen later stated that only the drums were actually live, the rest being recorded in a studio. Whilst the “live” material sounded great on the album, it only contained only 11 tracks from the original set list. Additionally it included 3 new studio instrumentals and a re-recorded Nightporter. The video contained only 10 live tracks, omitting Quiet Life and the new studio material. The “live” footage is well shot, but I strongly suspect that much of it is from rehearsals, not actual concerts. Moreover, the footage throughout has an out of focus “Vaseline on the lens” (Sylvian’s own words apparently) look about it. Other scenes have been heavily distorted with video effects, including heavy colorization. And some scenes are poorly synced, very obviously not matching the music. Lastly, the band scenes are intercut with footage of South Asian waterways, streets, temples etc. These scenes are nice, but personally I’d rather be watching the band. A couple of tracks on the video were left almost completely unadorned by the extraneous footage and visual gimmicks. Gentlemen Take Polaroids is one of them. Here I’ve synced it to the remastered Oil On Canvas CD version. I have re-edited some sections to make a more authentic looking match with the music. Moreover, I’ve applied various digital technologies try to lift the picture out of the vaselined murk and the snowstorm of noise of the poor source I had to work with. The endeavor has only been partially successful. We really need Oil On Canvas to be re-edited from scratch and re-released in a more complete and unadulterated way. In the meantime here’s one track re-imagining such a release. Thanks for watching, hope you dig it! • Credits Audio and Video Source: Japan | Gentlemen Take Polaroids | Recorded 1982 - 1983 | Produced by John Punter & Japan | From the album and video Oil On Canvas | Released 10 June 1983 | Virgin Records Musicians: David Sylvian | vocals, synthesiser Richard Barbieri | synthesiser, keyboards Mick Karn | bass Steve Jansen | drums Masami Tsuchiya | guitar • 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 ok.ru/nachovideo DailyMotion.com/NachosVideos Instagram.com/NachoVideo Twitter.com/NachosVideos Patreon.com/nachosvideos TheNachoVideos@gmail.com I edit, therefore I am #Japan #DavidSylvian #OilOnCanvas #GentlemenTakePolaroids

This video is a new edit of the superb footage shot by Mick Rock in San Francisco 28 October 1972, as used in his The Jean Genie promo, recut and synced to an audio of The Jean Genie recorded live in Santa Monica, 20 October 1972. • David Bowie set off for America on the QE2 on 10th September 1972, arriving in New York on the 17th. Rehearsals for the US Ziggy Stardust tour started the following day, at RCA Recording Studios, New York. During rehearsals, auditions were held for pianists for the tour. Mike Garson was chosen. On the 22nd of September, the US tour commenced at the Cleveland Music Hall. After about 4 or 5 shows there was a pause in the touring schedule for a few days. On the 6th of October a new song was recorded at RCA Studios, New York. The Jean Genie was based on jamming the Yardbirds’ I’m A Man on the tour bus a fortnight earlier. After jamming on the riff “as a laugh” in the studio, with a hastily written lyric, the song took shape. The band recorded the track in one take and added overdubs. An hour and a half later it was complete and they had the next single. Bowie (1973): I wanted to get the same sound the Stones had on their very first album. I didn’t get that near to it, but it had a feel that I wanted – that Sixties thing. The tour resumed the next day, October 7th. On the 20th of October was the first of two shows at the Santa Monica Civic Auditorium. This concert was recorded and broadcast live by KMET-FM, giving Bowie invaluable exposure. Incidentally, as the broadcast was good quality stereo, it was quickly bootlegged. A couple of decades later, In 1994 the recording was released as Santa Monica ‘72 by the labels Golden Years and Griffin Music in the UK and US respectively. There was dispute as to the legality of these releases. In 2008 the recording was “officially” released in a remastered form as Live Santa Monica ‘72 by EMI. On the 27th and 28th of October, the band were in San Francisco for two shows at the Winterland Auditorium. On the 27th, Mick Rock filmed Bowie and the band in a studio, along with location shots of Bowie posing at the Mars Hotel with Cyrinda Foxe. The material was intended for a promo video for Jean Genie. On the following day, Rock looked at the footage and decided that more material was needed, but they had used the entire budget of $350. Mick Rock (1999): Somehow I got some more dollars off DeFries to rent an Arriflex camera – a silent one – and I shot all the live stuff myself the next night, because David did two nights at the Winterland. So, I filmed him singing The Jean Genie that night, processed overnight and, because there was no time, edited in one ten-hour rush. I had to chop it up a lot to keep everything in sync with his live performance, which was fairly close to the recorded version, as he’d only just recorded it. Roger Griffin's David Bowie The Golden Years, and David Buckley's Strange Fascination were invaluable and are liberally quoted in the above information. • Editing the Mick Rock material, it is clear to me that he had to slow it down a lot to sync it to the studio version of Jean Genie. And so I have had to do the reverse - I have sped up the footage by around 15% to match the live performance. What is also very evident to me is what a great job Mick Rock did in capturing the footage. It is surely the best live footage we have of Bowie in 1972. And arguably the best live footage of the entire Ziggy Stardust era. So it was a no-brainer to try to recycle Mick’s brilliant San Francisco footage and sync it to the Santa Monica live version of The Jean Genie. Thanks for watching, hope you dig it! • Credits Video Source: David Bowie • Jean Genie Promo Video • 28 October 1972 San Francisco Winterland Ballroom • Directed by Mick Rock Audio Source: David Bowie • Jean Genie • Santa Monica Civic Auditorium, 20 October 1972 • From the album Live Santa Monica '72 Mike Moran • recording engineer Grover Hesley • mixing engineer Musicians: David Bowie • vocals, guitar Mick Ronson • guitar, backing vocals Trevor Bolder • bass guitar, backing vocals Woody Woodmansey • drums Mike Garson • piano • 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 OK.ru/nachovideo Instagram.com/NachoVideo Twitter.com/NachosVideos TheNachoVideos@gmail.com I edit, therefore I am #DavidBowie #JeanGenie #MickRock #1972

This video is a new restoration of the Don Van Vliet (Captain Beefheart) self-directed promo video for Ice Cream for Crow, the title track of his final album, released 40 years ago this month in 1982. • Ice Cream for Crow is the twelfth studio album by Captain Beefheart and the Magic Band, released in October 1982. It is the last Don Van Vliet recorded before abruptly retiring from music to devote himself to a career as a painter. The final line Van Vliet prophetically sings on the title track is, “That’s it, now you can go”. Praised by legendary DJ John Peel, as one of Beefheart's best albums, it spent a mere two weeks in the UK album charts, reaching number 90, and failed to make the US Billboard Top 200. The promotional video for the title track of the album is a wondrous thing. Don Van Vliet’s idiosyncratic personality looms large, among the striking scenes of desert landscapes, tumbleweeds, Van Vliet’s paintings, a moonlit night and the Magic Band enthusiastically miming. Also seemingly prophetic; the last scene of the video has Van Vliet pulling a blind down on himself, as the music fades. The video was filmed on 7 August 1982, in the Mojave Desert, California, near where Don Van Vliet lived with his wife. It was directed by Van Vliet with Ken Schreiber and cinematography by Daniel Pearl (The Texas Chainsaw Massacre). The video was rejected by MTV for being "too weird" on submission. However, it was shown on an 11 November 1982 David Letterman show on NBC-TV, when Van Vliet was guesting. “I really appreciate you showing it”, Van Vliet told Letterman, "I don't want my MTV if they don't want my video", he added, in reference to MTV's "I want my MTV" marketing campaign of the time. After showing a brief segment of the video, the audience responded with enthusiastic applause and Van Vliet looked pleased. The Letterman segment can be viewed here: https://youtu.be/MGGWMVGBYhQ The Ice Cream for Crow video now has a permanent home in the film and video collection of the Museum Of Modern Art (MOMA). • The music of Captain Beefheart first came to me at around about the time of Ice Cream for Crow, from several directions and eras. At that time, I had a tape of a radio interview with The Birthday Party’s Nick Cave and Tracey Pew, wherein they played some of their favourite music. One of the tracks was from the 1980 Captain Beefheart album Doc at the Radar Station. The track seemed so brilliant to me, I quickly acquired the album. Also, I had heard that Beefheart’s first album Safe as Milk, and his 1969 double album Trout Mask Replica, were both essential in any self-respecting music fans collection. I confess, I got on better with Safe as Milk, than Trout Mask Replica. The latter took me almost 20 years to even vaguely understand, and then finally adore. And in 1982, the Ice Cream for Crow video was shown on one of the UK music TV shows – I presume the Old Great Whistle Test. A friend videotaped the broadcast, and we watched it many times. Like so many classic music videos, I had never seen a decent quality version of the clip. I was unable to find a high quality original to work with, so what I’ve created here is not as good as I would like, but it should look okay on your smartphone, at least. Thanks for watching, hope you dig it! • Credits Video Source: Captain Beefheart and The Magic Band | Ice Cream for Crow | Promo Video | 1982 | Directed by Don Van Vliet | Produced by Ken Schreiber | Camera Daniel Paerl | Edited by Wayne Hyde Audio Source: Captain Beefheart and The Magic Band | Ice Cream for Crow | From the album Ice Cream for Crow | Recorded May–June 1982 at Warner Brothers Studios, North Hollywood, California | Released September 1982 | Virgin (UK) | Virgin/Epic (US) Musicians: Don Van Vliet | vocals, harmonica | production Jeff Moris Tepper | guitars Gary Lucas | guitars Richard Midnight Hatsize Snyder | bass Cliff R. Martinez | drums, percussion • 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 YouTube.com/NachoVideo DailyMotion.com/NachosVideos OK.ru/nachovideo Instagram.com/NachoVideo Twitter.com/NachosVideos TheNachoVideos@gmail.com I edit, therefore I am #CaptainBeefheartandTheMagicBand #IceCreamforCrow #MojaveDesert

It is 25 years since the release of Urban Hymns by The Verve, on the 29th of September 1997. This is a new edit of footage of the band during recording sessions for Urban Hymns 1995-97, synced to Space and Time, from the album. • The Verve split after an appearance at the T in the Park festival in August 1995. Richard Ashcroft quickly reformed the group, but without guitarist Nick McCabe. Simon Tong, an old friend of the band joined on guitar. Initial rehearsal and recording sessions of new material were at Real World, near Bath. By early 1996, the band were at Townhouse studios in Shepherd’s Bush. Eventually, Ashcroft asked Nick McCabe to return. Simon Tong remained. By 1997 the final sessions for the album were at Metropolis studios in Chiswick and Olympic studios in Barnes. • I have been corresponding with filmmaker Andy Baybutt, during the editing of this video. Along with George Hanson, Andy produced much of the video material of the Verve during the Urban Hymns era 1995 – 1998, including all of the footage in this video. Andy and George created the following videos for the Verve : 1996 Urban Hymns Demo Film https://m.youtube.com/watch?v=6lQ7sUmz7KE 1997 The Drugs Don’t Work https://youtu.be/ToQ0n3itoII 1997 Lucky Man https://youtu.be/MH6TJU0qWoY 1998 This is the Verve: Do Not Panic 1997 US Tour Film https://youtu.be/8tqhE0UWahU 1998 The Video 1996 – 1998 https://youtu.be/gX8jR_g2fr8 Andy kindly provided information and anecdotes about those times and the material in this video : I shot all the footage on my Arriflex 16mm kit, which I bought from Derek Jarman’s cinematographer Peter Middleton, who I assisted for 3 years. The camera was brand new when it was used for Jarman’s film ‘Jubilee’ in 1977. Who knew that 20 years later it would be the Verve camera kit. I honestly didn't imagine the full life that the songs and accompanying films would have when we made them. The demos film was never commissioned. I knicked film from a Granada TV film unit, where I was a film camera assistant, working on ‘Prime Suspect’, and just shot in the studio with the band at the weekends. All made from love and no money, just like the videos you produce for your channel. The Space and Time shoot was at the Townhouse in Shepherd’s Bush in early 1996. During those sessions, the producer John Leckie invited Natalie Portman and her Dad. She sat quietly all day, watching the band record. Fresh from ‘Leon‘, we didn’t know who she was but we were told not to skin up in front of her. She said she had just landed a ‘little’ part in Star Wars, and she waxed lyrical about loving ‘A Northern Soul’ album. Little did we know who we were entertaining. The scenes you are using that include Nick, were shot in Metropolis studios in Chiswick in 1997, with Chris Potter producing. The shot at the end of your cut of Richard in slo-mo walking into the studio, is from Realworld studios in December 1995. He winks and says ‘alright George’. • Stupidly, I turned down the opportunity to be part of the Urban Hymns video legacy. One afternoon in summer ‘97, I was cycling down Hoxton St, in East London. I noticed a film shoot, and my old mate Dave Boyd lurking around. I stopped and asked him what was going on. Dave was the MD of Hut Records, the Verve’s label. He invited me to be one of the bystanders in the shoot, but for some reason I declined. I was a pretty arrogant fellow in those days, and I probably thought I had something better to do. So I missed the chance to be in the brilliant promo video for Bittersweet Symphony. Regrets, I’ve had a few! Now, 25 years later - with much gratitude to Andy Baybutt - I’m inserting myself into the Verve video legacy in my own way. Thank you for watching, I hope you dig it! • Video Source: The Verve | Urban Hymns rehearsal and recording footage shot at : Realworld Studios | Bath | 1995 The Manor | Oxford | 1995 The Townhouse | Shepherd’s Bush| London | 1996 Metropolis Studios | Chiswick | 1997 Footage shot by Andy Baybutt Directed by Andy Baybutt and George Hanson Audio Source: The Verve | Space and Time | from the album Urban Hymns | Recorded 1996 - 1997 Released 29 September 1997 Personnel: Richard Ashcroft | lead vocals, rhythm guitar, keyboard Nick McCabe | lead guitar Simon Jones | bass Peter Salisbury | drums Simon Tong | lead guitar, keyboard Liam Gallagher | hand claps Chris Potter | producer The Verve | producer • 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 #TheVerve #UrbanHymns #SpaceandTime

A new restoration and edit of live footage and high quality audio, from the Roxy Music Siren tour, recorded at Wembley in 1975. • The Roxy Music Siren tour commenced in the UK on October 2nd 1975. The tour ran for almost 6 months, including three dates in Scandinavia, and many shows in the US and Canada. Andy MacKay: “(In the States) we played mainly theatres which suited us. In the UK we were playing arenas, but the audience were great in both”. Roxy’s Siren album was released on October 31st, 1975. Therefore, on many of the early shows of the tour, including all the UK dates, the audience had not heard the new material. Despite that, Roxy played much of the new album, often starting the set with two new songs, Sentimental Fool and Love is the Drug. Love is the Drug became a hugely successful single for Roxy Music, reaching number 2 in the UK, and number 30 in the US charts. It has been said to have been a progenitor of future new wave and funk sounds and a big influence on acts such as Simple Minds, Gang of Four, Public Image Ltd. and the Human League. Nile Roger’s of Chic was hugely influenced by seeing Roxy on the Siren tour, and has stated that John Gustafson's bassline on Love is the Drug, was a major influence on his Chic classic, "Good Times". Love is the Drug also seems to point the way forward to the future Roxy of the Manifesto and Flesh and Blood eras. • It seems apposite timing to put out new Roxy Music videos now, with the band reforming for their upcoming 50th anniversary tour next month. Alas, the band aren’t coming to my part of the world, so I won't get to see one of the shows. Since making a previous Roxy live at Wembley ‘75 video a few years ago [Both Ends Burning https://youtu.be/EB7z-FxeKyo] I’ve been wanting to create a better version of the Love is the Drug live video. The original clip has been on YouTube for many years, but the sound and edit aren’t that great. And moreover, the uploads have not been in very good quality. I finally found some okay sources to work with, and I have now been able to create something I’m quite satisfied with. It has often been said that Roxy Music songs are better live than the original studio versions. I think that is very much the case here - the groove that Paul Thompson and John Gustafson lay down is absolutely killer, and Ferry's vocal is wonderful. And the footage is great! Which begs the question - when will the Roxy powers-that-be release the complete footage from the Wembley ‘75 shows? Treasure such as this must not be left on the shelf! And if the footage needs editing, then Roxy HQ need look no further than Nacho’s Videos! Anyway, in the meantime here’s one truly golden nugget from those shows. Thanks for watching, I hope you dig it! • Video Source: October 17th, 18th 1975 | Wembley Empire Pool | London, UK | From the Love is the Drug Live video | 1975 | All You Need is Love episode 15 | US TV | 1977 Audio Source: Roxy Music | Love is the Drug | Wembley Empire Pool | London | October 18th 1975 | From the live at Wembley soundboard bootleg Personnel: Bryan Ferry | Vocals Paul Thompson | Drums Phil Manzanera | Guitar Andy Mackay | Saxophone Edie Jobson | Keyboards John Gustafson | Bass Jacquie Sullivan | Vocals Doreen Chanter | 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 Patreon.com/NachosVideos TheNachoVideos@gmail.com I edit, therefore I am #RoxyMusic #LoveIsTheDrug #Siren

Here’s a new restoration of Iggy Pop and Nash The Slash vaguely attempting to interview each other on a Calgary cable TV music show, on this day forty years ago, 12 November 1982. • Iggy Pop commenced a tour for his new album Zombie Birdhouse on the 13th October 1982. For the next two months he played many dates in the US and Canada. About half way through, on the 12th November, the day after the show at MacEwan Hall, University of Calgary, Iggy and his support act Nash The Slash appeared on a local cable TV music video show, FM Moving Pictures. The show begins: “I’m you genial host, Iggy Pop. I’ve been on tour for sometime now with this GENTLEMAN who calls himself NASH THE SLASH and claims to be a MUSICIAN”. Things quickly descend into chaos, and after 11½ minutes Mr. Pop and Mr. Slash have pretty much trashed the set. Thanks for watching, hope you dig it! • Credits Video and Audio Source: Iggy Pop | Nash The Slash | FM Moving Pictures | Calgary | 12 November 1982 • 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 #IggyPop #NashTheSlash #ZombieBirdhouse

40 years ago today, David Sylvian made this one-off solo performance for the BBC TV youth culture show Riverside. Here’s my restored version of the two broadcasts of that unique and beautiful appearance. • Now I find myself alone “No, we’re splitting up”, David Sylvian tells Riverside presenter Mike Andrews. Sylvian’s declaration feels very poignant, after his stark stripped-down 12-string accompanied solo performance of Ghosts. Mike Andrews responds, “…Japan have fought so hard to get to where they are now, which is one of the biggest bands in the country”. Despite Japan being on their most extensive tour to date, and finally enjoying commercial and critical success in the UK and abroad, including the March 1982 top 5 hit single "Ghosts", the band would indeed imminently split up. They played their last ever concert in Nagoya, Japan on 16 December 1982. Then all that remained for the group to do was complete the Oil on Canvas “live” album and video. When Oil on Canvas was released in June 1983, it was another big success for the band, ironically and unusually for a live album, it became their highest charting album. “And so for your first solo project après Japan, do you have something in mind?”, Mike Andrew’s asks. After a pause, Sylvian answers, “It’s very difficult to talk about it… I’ve only just got the ideas together to do it. I haven’t found musicians I want to work with yet..” The Riverside appearance was during Japan’s 6-night residency at the Hammersmith Odeon. Riverside Studios are also in Hammersmith, and in fact are located on the same street. It’s cool to imagine that after the filming of his Riverside appearance, Sylvian, carrying his 12 string, took the 3 or 4 minute walk along Queen Caroline Street, on a cold London November afternoon, from Riverside Studios back to the Hammersmith Odeon, to rejoin his band mates for the show that night. Sylvian's debut solo album, Brilliant Trees, would be released in 1984. It was another critical and commercial success, peaking at No. 4 in the UK charts. The al