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Magazine | The Light Pours Out Of Me | Live 1980
04:51

Magazine | The Light Pours Out Of Me | Live 1980

This is a new video and audio restoration, edit, matrix and remix of Magazine performing The Light Pours Out Of Me in 1980, live on the Correct Use of Soap tour, their final shows until the reformation in the 2000’s. • Magazine are considered one of the best Post-Punk bands, and surely The Light Pours Out Of Me is one of their finest songs and indeed one of the greatest of the era. The Light Pours Out Of Me was one of two songs that Howard Devoto co-wrote with Pete Shelley [the other was Shot By Both Sides] and took with him when he left the Buzzcocks. The song also shares a third co-writing credit with Magazine genius guitarist, John McGeogh; presumably for providing the brilliant riff that underpins the song and the two ecstatic lead breaks, in it's latter section. Magazine recorded the Correct Use of Soap album with McGeogh, but he left the band by the time of tour. Purportedly, he was tired of Magazine's low sales and their less guitar-oriented material. He immediately joined Siouxsie and the Banshees, for the recording of their Kaleidoscope album, and subsequent tours and albums. To replace McGeogh on the tour, the band hired Robin Simon, who had been in Ultravox and Neo. That line-up toured the UK, Europe and Australia, recording the live album Play. Play consisted of a recording of the group's performance at Melbourne Festival Hall in Australia on 6 September 1980; part of the audio matrix we hear in this video. The final show of the Correct Use of Soap tour, and therefore Magazines last show from their heyday, was at the Metropol, Berlin on the 30th of October 1980; the footage of which we see in this video. • So this video combines the two aforementioned shows - Melbourne and Berlin. The footage is from the Berlin show. The audio is a matrix of the Berlin vocal, and music from Melbourne; from the Play album. My buddy, the producer Particledots engineered a near perfect track separation / breakdown of both Melbourne and Berlin audios. With what was for all intents and purposes, the master tracks, I created my own mix of the music from Melbourne. I omitted the Melbourne vocal, replacing it in the mix with the Berlin vocal. Therefore, now we have a video which has Devoto singing the actual vocal in the footage, with the band playing the music from the wonderfully crisp recording / production of the Play album. Thanks for watching, I hope you dig it! • Credits Video Source: Live at the Metropol, Berlin | 30 October 1980 | From the WDR TV Broadcast | Produced | Wilhelm Lang | Directed | Christian Wagner | Edited | Peter Ruchel Audio Source: • Vocal | Live at the Metropol, Berlin | 30 October 1980 | From the WDR TV Broadcast • Music | Live at the Melbourne Festival Hall | 6 September 1980 | From the Magazine album Play | Production Magazine, John Brand | Released December 1980 | Virgin Records (International) | © ℗ 2009 Virgin Records Limited 2024 Audio Remaster: Particledots | Track separation engineering | E.A.R.S. technology Nacho | Audio matrix and remix Musicians: Howard Devoto | vocals Barry Adamson | bass guitar Dave Formula | keyboards John Doyle | drums Robin Simon | 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 #Magazine #TheLightPoursOutOfMe #Playo
New Order | Thieves Like Us | Live at The Hacienda | 20 July 1983 | Reconstructed 11 Minute Version
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New Order | Thieves Like Us | Live at The Hacienda | 20 July 1983 | Reconstructed 11 Minute Version

Forty years ago, in April 1984, New Order released their single Thieves Like Us, on Factory Records, catalogue number FAC 103. This video is a new edit and restoration of an early live performance of Thieves Like Us from the 20 July 1983 Hacienda show. It is sourced from the 1984 Channel 4 mini documentary, Play at Home and excerpts of footage of the entire Hacienda show. • Thieves Like Us was the only “new” record the band released in 1984. It was quite successful in the UK, reaching no. 18 in the UK singles chart, garnering an appearance on Top of the Pops. It is named after the 1974 film Thieves Like Us, directed by Robert Altman. Guitarist and lead singer Bernard Sumner stated during a TV interview in 1984 that the song's title was suggested by John Benitez. The song was co-written by Arthur Baker during the New York sessions for a previous single, Confusion. This live cut of Thieves Like Us is interesting in many ways. Clocking in at close to 12 minutes long, it is almost double the length of the studio version. The latter part of the track is an electro-style breakdown with sequencers, and synths. • Play at Home was a series of nine, one hour shows, wherein bands were given total control over the program's content with no input from the production company or Channel 4. Some of the other bands featured were Special AKA, The Bunnymen, The Banshees, XTC. New Order Play at Home featured three live performances filmed at the Hacienda. The film also features ironic interviews with the members of New Order, Factory Records boss Tony Wilson, and other Factory and Manchester luminaries Martin Hannett, Rob Gretton, Alan Erasmus, Peter Saville and Pete Shelley, and others. From a Dangerous Minds feature about New Order Play at Home: The star of the proceedings is really Tony Wilson, which makes this movie an interesting companion piece to 24 Hour Party People, which also centered on Wilson [as embodied by Steve Coogan]. Wilson spends much of the documentary in a bathtub [naked], and one of the first things that happens is that Gillian Gilbert jumps into the bathtub [clothed] and starts to interview him. One of the most memorable moments is a bird’s-eye shot of the two of them in the tub, Wilson’s hands placed strategically over his privates, as he attempts to answer Gilbert’s question, which happens to be “Are you a capitalist?” That question, and the related question of Wilson’s financial relationship to the band, provides the seething subtext of hostility that percolates throughout the movie. • The first few minutes of Thieves Like Us, as featured on the Play at Home show, utilises footage of Manchester and surrounding areas. The live performance footage only begins when Bernard Sumner starts to sing. Also, that version has been edited to omit the first verse and the latter part of the track. This video reassembles the complete track and complete live footage. The two sources differ in both video and audio quality. Creating a matrix of the two very different sounding audios, made the contrast between sections of the track too noticeable. In order to get around that, I created a loop of the drum track, and synced it into the mix. In addition, my buddy the producer Particledots, engineered some Isolated sections, giving me an instrumental version to incorporate. Thanks for watching, I hope you dig it! • Credits Video and Audio Source: New Order | Thieves Like Us | Live at The Hacienda | 20 July 1983 From “New Order Play at Home” | Channel 4 | RPM Media | Broadcast 19th October 1984 From “The Hacienda, Manchester, 1983” | Power, Corruption & Lies [Definitive Edition] | 2023 Sound | Adrian Richmond | RAK Mobile | Production | New Order Musicians: Bernard Sumner | Vocals, Keyboards Peter Hook | Bass Stephen Morris | Keyboards Gillian Gilbert | Keyboards © Universal Music Publishing Group • 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 #NewOrder #ThievesLikeUs #Factory103 #TheHacienda
Roger Waters | Sheep | This Is Not A Drill Tour | Prague | 25 May 2023
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Roger Waters | Sheep | This Is Not A Drill Tour | Prague | 25 May 2023

This video is an edited and optimised excerpt of the broadcast of Roger Waters and his touring band, performing the Pink Floyd track, “Sheep”, on this day last year, the 25th of May. • Last summer, I attended one of the Roger Waters,” This Is Not a Drill” concerts. The show started with an announcement: If you’re one of those “I love Pink Floyd, but I can’t stand Roger’s politics” people… you might do well to f**k off to the bar right now. But in my case, I became a Roger Waters fan in the opposite way: I agree with his politics, and became a fan of him because of that. Whereas, growing up in the late 70’s and early 80’s as a New Wave / Post Punk fan, I naturally adopted the attitude that Pink Floyd were styleless bloated dinosaur rock. Regardless, I did secretly like some of their music very much, and Floyd became something of a guilty pleasure for me. Waters is completely unapologetic about his political views. He incorporates political themes in his work and is a very vocal supporter of Palestine in the Israeli–Palestinian conflict. And he has been consistent in that over the years. Responding to critics of the political content of his previous tour, Us + Them, he said, “I find it slightly surprising that anybody could have been listening to my songs for 50 years without understanding". My favourite Floyd album was always Animals. Inspired by Orwell’s Animal Farm, it’s an album of angry anti-authority sentiments and some great rock n' roll within the context of the long instrumental interludes. I’ve often thought that if the songs were edited down, stripped of the epic progressive passages, they would be quite punk rock. However, I freely admit; I love the album just as it is. My favourite track from Animals is Sheep. A performance of which ended the first half of the This Is Not a Drill concert I saw. It was for me the highlight of the show. As we can appreciate in the video, Waters is in pretty good voice for an 80-year old guy, the band recreate a remarkably accurate version of the original album track and the visuals throughout the performance are spectacular. • The audio of the broadcast has some bothersome issues, including Water’s vocal being way too loud in the mix. Once again with the technical help of producer Particledots, I think I’ve been able to improve the situation somewhat. I have also done some judicious visual editing. Finally, Roger - in the unlikely event you read this - I’d love to communicate with you about editing This Is Not a Drill footage or archive Floyd material for you. Thanks for watching, I hope you dig it! • Credits Audio and Video Source: Roger Waters | Sheep | This Is Not A Drill Tour | Live broadcast | Prague | 25 May 2023 | Directed by Sean Evans | Produced by Clare Spencer and Roger Waters | Sony Music | Trafalgar Releasing | Rue 21 Productions Limited Musicians: Roger Waters | vocals, guitar & bass Joey Waronker | drums Dave Kilminster | guitars Jonathan Wilson | guitars & vocals Jon Carin | keyboards & guitars Gus Seyffert | guitars & bass Robert Walter | keyboards Amanda Belair | vocals Shanay Johnson | 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 ok.ru/nachovideo DailyMotion.com/NachosVideos Instagram.com/NachoVideo Twitter.com/NachosVideos Patreon.com/nachosvideos TheNachoVideos@gmail.com I edit, therefore I am #RogerWaters #Sheep #PinkFloyd #Animals #ThisIsNotaDrill
David Bowie | Boys Keep Swinging | The Kenny Everett Show | Live Vocal Performance | 23 April 1979
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David Bowie | Boys Keep Swinging | The Kenny Everett Show | Live Vocal Performance | 23 April 1979

Forty five years ago today, on Monday 23rd of April 1979, David Bowie performed Boys Keep Swinging on the popular Thames TV program The Kenny Everett Show. • On the 8th of April, Bowie recorded the backing track for this exclusive version of Boys Keep Swinging, at Tony Visconti’s Good Earth Studios in Soho, London. It was a one-off band picked by Visconti for the session, including ‘78 tour alumni Simon House and Sean Mayes, on violin and piano respectively, Thin Lizzy’s Brian Robertson on guitar and Visconti on bass. The next day, April 9th, was the taping of the show, at Thames Television House, also in London. The session was directed by David Mallet, who directed the entire Kenny Everett Show series. The episode was then broadcast on ITV on April 23rd. That was the first time new material was aired from Bowie’s forthcoming album, Lodger. It had been an interminable 18 months for Bowie fans, since the release of the “Heroes” album in October 1977. The Boys Keep Swinging single wouldn’t be released for another four days. And when it appeared, it was a different version to the one aired on The Kenny Everett Show, with a different video to accompany it. Arguably, The Kenny Everett Show audio and video of Boys Keep Swinging are more satisfying than the official versions. Yes, we are lacking Belew’s marvellous screaming guitar freakout from the Lodger version, and the three Bowie's in drag from the official video. But I really like the live vocal and the rough edges of this version. And Bowie looks spectacularly beautiful here, sporting what looks to be a black boiler suit, sandals, and white nail polish. He’s clearly enjoying himself enormously performing his new song. The Kenny Everett Show would be the first time Bowie worked with director David Mallet. Bowie was sufficiently impressed with the results, that he also had Mallet shoot the official Boys Keep Swinging video with Mallet, using the same set from The Kenny Everett Show. Bowie and Mallet also worked together on the other videos for Lodger songs, and intermittently during the 80’s on several very well-known videos. • Five years ago, I attempted a restoration of the Kenny Everett performance. Since then, I have obtained a slightly better source, and technology has moved on. So here’s Take 2. Note: during the credits at the end of this episode of the Kenny Everett Show, we glimpse quick clips of Bowie throwing the violin, as opposed to catching it as he does in the Boys Keep Swinging clip. In the clip, he pretends to play a violin during the shrieking guitar break. What we are seeing here is footage played in reverse and in varying degrees of slow motion. Out of curiosity, I reversed the footage to the right way round and retimed it to a normal speed. The results are included at the end of the video. Thanks for watching, hope you dig it! • Credits Audio: David Bowie | Boys Keep Swinging | Special version produced for the Kenny Everett Show. Backing track recorded by Tony Visconti at Good Earth Studio, Soho, London, 8th April 1979. Video: An excerpt from The Kenny Everett Show | Series 2 | Episode 9 | Recorded Thames Television House, London | 9 April 1979 | Broadcast on the 23 April 1979 | Directed by David Mallet Musicians: David Bowie | Vocal Brian Robertson | Guitar Ricky Hitchcock | Guitar Tony Visconti | Bass Andy Duncan | Drums Simon House | Violin Sean Mayes | Keyboards Tony Visconti | 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 #DavidBowie #Lodger #TonyVisconti #KennyEverett #DavidMallet
The Blue Nile | Tinseltown in the Rain | 1984 | Original Promo Video Restored
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The Blue Nile | Tinseltown in the Rain | 1984 | Original Promo Video Restored

The Blue Nile album, A Walk Across the Rooftops, which contained Tinseltown in the Rain, was released on this day forty years ago, the 30th of April 1984. Here’s a restored version of the original Tinseltown in the Rain promo video. Brilliant, mature pop that wasn’t a hit when it came out, reaching only no. 87 in the UK singles charts. Both the album and the single received great acclaim from the UK music press, including Tinseltown in the Rain receiving a no. 18 placing in the NME’s end of year round up, which is where it came to my attention. I love the video, which makes me feel nostalgic for the styles and moods of those times. Thanks for watching, I hope you dig it! • Credits Video Original Tinseltown in the Rain promo video | 1984 Audio The Blue Nile | Tinseltown in the Rain | From the 1984 album A Walk Across the Rooftops | Linn | A&M Records Musicians: Robert Bell | bass, synthesizers Paul Buchanan | vocals, guitars, synthesizers Paul Joseph Moore | keyboards, synthesizers Nigel Thomas | drums Paul Buchanan and Robert Bell | 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 ok.ru/nachovideo DailyMotion.com/NachosVideos Instagram.com/NachoVideo Twitter.com/NachosVideos Patreon.com/nachosvideos TheNachoVideos@gmail.com I edit, therefore I am #TheBlueNile #TinseltownintheRain #AWalkAcrosstheRooftops #PaulBuchanan
Echo and the Bunnymen | Pictures on My Wall | Live in Europe | 1981
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Echo and the Bunnymen | Pictures on My Wall | Live in Europe | 1981

Here’s a rough as… Easter Bunny gift! Very basic footage of the Bunnymen, synched to a great audio. Both from the Heaven Up Here tour, which began at Easter time, late March / early April 1981. • The Heaven Up Here album and its accompanying tour, was the Bunnymen’s artistic and stylistic peak, in my opinion. They would continue to produce and perform great music for the next several years, but they never again scaled the heights of their 1981 output, by my estimation. Heaven up Here was released on the 30th of May 1981. It was an immediate critical and commercial success, becoming Echo and the Bunnymen's first Top 10 release when it reached number 10 on the UK Albums Chart. It was also the band's first entry into the United States albums charts reaching number 184 on the Billboard 200. The tour promoting Heaven Up Here began in the U.S. in late March or early April of that year [exact date uncertain] a good couple of months prior to the album’s release. The tour continued through the UK, Europe, Australia, New Zealand, and a second visit to the U.S. The final leg was a second tour of the UK, culminating at the University of Leicester, on the 12th of December 1981. Footage from the period is scarce. No official videos were produced, there were only a very few TV appearances [that still survive and are in circulation at least] and there is very little live footage of note. And so, if as I am, you are a big fan of the band during the era, even this glimpse into the Heaven Up Here tour is special, rough as it is. The footage utilized here originates from a 1981 Bunnymen show at the University of Brussels, Belgium on the 17th May 1981. There is footage of the entire show. However, most of it is too poor to do anything worthwhile with. Plus, the sound is not great. Pictures on My Wall is one of the few moments that I thought was worth trying to salvage. It was optimized using all the digital technologies at my disposal Plus, because the band play along to a drum machine, syncing to an audio from another show was relatively straight forward. This site has some great shots from the Brussels show : http://www.newwavephotos.com/gallery.php?name=Bunnymen&num=4B The audio is from a Bunnymen show at the Concertgebouw de Vereeniging, in Nijmegen, Netherlands on June 2nd, 1981. The quality is basically outstanding as it was recorded by VPRO for a radio broadcast on KRO-FM, Holland. Thanks for watching, hope you dig it! • Credits Video: Auditorium Q | University of Brussels (VUB) | Brussels, Belgium |17 May 1981 Audio: Recorded live at the Concertgebouw de Vereeniging, in Nijmegen, Netherlands | 2 June 1981 | Recorded by VPRO for KRO-FM Holland Musicians: Vocals, Guitar | Ian McCulloch Lead Guitar | Will Sergeant Bass | Les Pattinson Drums | Pete de Freitas • 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 Facebook.com/TheNachoVideos Ok.ru/nachovideo DailyMotion.com/NachosVideos Instagram.com/NachoVideo Twitter.com/NachosVideos Patreon.com/nachosvideos TheNachoVideos@gmail.com I edit, therefore I am #EchoandtheBunnymen #PicturesonMyWall #Crocodiles #HeavenUpHere
Patti Smith Group | Because the Night | Live on the Old Grey Whistle Test | 3 April 1978
03:16

Patti Smith Group | Because the Night | Live on the Old Grey Whistle Test | 3 April 1978

Here is a newly restored version of the classic Patti Smith Group OGWT performance of Because the Night, recorded on this day, the 3rd of April 1978, at the BBC Television Theatre, during the group’s 4-night residency at London’s Rainbow Theatre. • Because the Night had originally been a Bruce Springsteen song. Springsteen and the E Street Band had initially recorded it at Atlantic Studios, New York on the 1st of June 1977, the first day of sessions for the album, Darkness on the Edge of Town. At that time, the lyrics only consisted of the song title and some mumbling. Springsteen struggled with the song for almost four months. He later admitted he was not satisfied with the song, and he already knew he was not going to finish it since it was "a[nother] love song". His engineer, Jimmy Iovine, got involved. At the time, Iovine was also producing the album Easter for Patti Smith at the Record Plant in New York, where Darkness was being recorded. Iovine says, "Now, Bruce was very understanding and very flexible, because he realized that this was my first real break as a producer. Anyway, one night whilst we were lounging around the Hotel Navarro in New York I told Bruce I desperately wanted a hit with Patti, that she deserved one. He agreed. As he had no immediate plans to put 'Because the Night' on an album, I said why not give it to Patti. Bruce replied, 'If she can do it, she can have it.' Iovine brought Smith the recording by Springsteen, from September 27, 1977. Smith added her own lyrics, and recorded it with Iovine. The song was first performed live at a Patti Smith concert at CBGB’s in New York City on December 30, 1977 (Smith's 31st birthday), with Springsteen joining on vocals and guitar. Because the Night was the Patti Smith Group’s biggest hit, reaching No. 13 on the Billboard Hot 100 chart, and No. 5 in the UK singles charts. It helped propel sales of Easter to mainstream success. • Most of us already know and love this faultless April 1978 OGWT performance, I am quite sure. Patti and the band sound and look perfect, and it is surely one of the greatest TV rock performances of all time. Here, I’ve tried to create an optimised sound and vision HD version for us to enjoy. Thanks for watching, I hope you dig it! • Sources Video and Audio: Patti Smith Group| Because the Night | 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 Musicians: Patti Smith | vocals Lenny Kaye | bass guitar, vocals Jay Dee Daugherty | drums, percussion Ivan Král | guitar, vocals 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 #BecausetheNight #Easter #OldGreyWhistleTest
New Order | Lonesome Tonight | Live at The Hacienda | 20 July 1983 | Complete Version | Remastered
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New Order | Lonesome Tonight | Live at The Hacienda | 20 July 1983 | Complete Version | Remastered

Forty years ago this month, April 1984, New Order released their single Thieves Like Us B/W Lonesome Tonight. This live cut of Lonesome Tonight, recorded in 1983, is vastly superior to the studio version, predominantly due to Hooky's monster bassline and Stephen Morris’ propulsive drumming pushed to the fore. This video is a new edit and restoration of footage from the 20 July Hacienda show, sourced from the 1984 Channel 4 mini documentary Play at Home and excerpts from footage of the entire Hacienda show. • Play at Home was a series of nine, one hour shows, wherein bands were given total control over the program's content with no input from the production company or Channel 4. Some of the other bands featured were Special AKA, The Bunnymen, The Banshees, XTC. New Order Play at Home featured three live performances filmed at the Hacienda. The film also features ironic interviews with the members of New Order, Factory Records boss Tony Wilson, and other Factory and Manchester luminaries Martin Hannett, Rob Gretton, Alan Erasmus, Peter Saville and Pete Shelley, and others. From a Dangerous Minds feature about New Order Play at Home: The star of the proceedings is really Tony Wilson, which makes this movie an interesting companion piece to 24 Hour Party People, which also centered on Wilson [as embodied by Steve Coogan]. Wilson spends much of the documentary in a bathtub [naked], and one of the first things that happens is that Gillian Gilbert jumps into the bathtub [clothed] and starts to interview him. One of the most memorable moments is a bird’s-eye shot of the two of them in the tub, Wilson’s hands placed strategically over his privates, as he attempts to answer Gilbert’s question, which happens to be “Are you a capitalist?” That question, and the related question of Wilson’s financial relationship to the band, provides the seething subtext of hostility that percolates throughout the movie. • I saw many New Order shows in the 80’s. Sometimes they were godlike and sometimes they were godawful. Sometimes when the band played an old favorite of mine, I thought they were unable to satisfactorily reproduce the studio version. On the other hand, sometimes when a new song was finally released, it failed to live up to the promise of the live versions I had heard. Case in point of the latter is Lonesome Tonight. New Order only released one “new” record in 1984; the single Thieves Like Us B/W Lonesome Tonight. I loved Thieves Like Us, but initially I overlooked Lonesome Tonight, because of it's seemingly weak production. Then a few months later Channel 4 broadcasted the New Order Play at Home episode and to my astonishment a live version of Lonesome Tonight absolutely kicked ass! Eight or nine years ago, when I started the Nachos Videos YouTube channel, one of the first “restorations” I tried was Lonesome Tonight from the Play at Home episode. I didn’t have good sources and the performance as shown on Play at Home was not complete, omitting the last minute or so. In 2020, New Order released the Power, Corruption & Lies [Definitive Edition] box set. The set features the Play at Home episode and video of the entire Hacienda 20 July 1983 show. Here I have merged the two sources to create a complete version of the Lonesome Tonight performance. You will notice that the latter one minute or so is in inferior quality with noticeable audio dropouts. Thanks for watching, I hope you dig it! • Credits Video and Audio Source: New Order | Lonesome Tonight | Live at The Hacienda | 20 July 1983 From “New Order Play at Home” | Channel 4 | RPM Media | Broadcast 19th October 1984 From “The Hacienda, Manchester, 1983” | Power, Corruption & Lies [Definitive Edition] | 2023 Sound | Adrian Richmond | RAK Mobile | Production | New Order Musicians: Bernard Sumner | Vocals, guitar Peter Hook | Bass Stephen Morris | Drums Gillian Gilbert | Keyboards © Universal Music Publishing Group • 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 #NewOrder #LonesomeTonight #Factory103 #TheHacienda
David Bowie | Blackout | Live 1978 | Version III
04:42

David Bowie | Blackout | Live 1978 | Version III

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

The HD Remaster of the Official Music Video for Nelson Mandela, performed by The Specials. Follow Chrysalis Records; Subscribe - https://chrys.lnk.to/Subscribe Spotify - https://chrys.lnk.to/SP Facebook - https://chrys.lnk.to/FB Twitter - https://chrys.lnk.to/TW Instagram - https://chrys.lnk.to/IN Website - https://chrys.lnk.to/online Lyrics: Free Nelson Mandela Free, free, free, free, free Nelson Mandela Free Nelson Mandela 21 years in captivity Shoes too small to fit his feet His body abused but his mind is still free Are you so blind that you cannot see? I saidâ?¦ Free Nelson Mandela, I'm begging you Free Nelson Mandela Visited the causes at the AMC Only one man in a large army Are you so blind that you cannot see? Are you so deaf that you cannot hear his plea? Free Nelson Mandela, I'm begging you Free Nelson Mandela 21 tears in captivity Are you so blind that you cannot see? Are you so deaf that you cannot hear? Are you so dumb that you cannot speak? I saidâ?¦ Free Nelson Mandela, I'm begging you Free Nelson Mandela Free Nelson Mandela, begging you, begging you please Free Nelson Mandela, you got to, you got to, you got to free, you got to free, you got to free Free Nelson Mandela Free Nelson Mandela Free Free (I'm telling you, telling you, telling you) Free (You've got to free, yeah, you've got to free) Free (Yeah, you've got to free, yeah, you've got to free) Free (Nelson Mandela) Free Free (I'm telling you, telling you, telling you) Free (Free, yeah, you've got to free him now) Free (You've got to free him now, you've got to free him) Free (I'm telling you, telling you, telling you) Free (You've got to free, yeah, yeah) Free (You've got to free, yeah, yeah) Free (I'm telling you, telling you, telling you) Free (Begging you, begging you please) Free (I'm telling you, you've got to free, yeah Free (you've got to free) #ChrysalisRecords http://vevo.ly/TEDn3g
Echo and the Bunnymen | The Killing Moon | 1984
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Echo and the Bunnymen | The Killing Moon | 1984

It is 40 years since the release of the Echo & the Bunnymen single, The Killing Moon, on the 20th of January 1984. This video is a re-edited version of a 1984 TV appearance of the band performing The Killing Moon. • Echo & the Bunnymen’s output in 1982 was merely one single, the Back of Love, and only one London gig, which I attended. With hindsight, we know that much of their year was taken up with creating Porcupine, their “difficult” 3rd album, the first draft of which was rejected by their label, Warner Bros. as "too uncommercial". In contrast, there was a lot of Bunnymen productivity and transformation in 1983. In January and February respectively, a new single; The Cutter, and at last the re-recorded Porcupine album were released. I went to the two London gigs that were part of an extensive UK tour. The band then played Europe until late March, and the US until June. I wasn’t particularly enamoured with Porcupine, and hoped that the Bunnymen would return to making great music again. And very soon they did. Suddenly in June ‘83 there was a new John Peel session. The material was very different and it was very good. The band‘s signature dark post punk sound, was transformed into upbeat romantic and seafaring-themed acoustic alt-folk! I remember, as first track Silver faded, Peel was unable to contain his enthusiasm and proclaimed, “Well, that’s not bad at all!” Further tracks, Seven Seas and The Killing Moon were equally excellent. In July, a one-off single, "Never Stop" was a top 20 hit. Shows followed, which featured so little Porcupine material, I saw it as a sign the band felt the same way I did about that record. In July I hitchhiked up to Nottingham and saw a fabulous Bunnymen gig at Rock City. A few days later I attended one of their legendary Royal Albert Hall shows. Suddenly it was obvious that the secret was out: the Bunnymen were about to be huge! They toured Japan and the US until early August. I propose that the Ocean Rain era commenced in late October ‘83, when the Bunnymen put on a one-off matinee and evening show at an unusual venue - the Royal Shakespeare Theatre, in Stratford. I caught both sets. The band played the three Peel session tracks and three brand new songs in the similar acoustic style, with Ocean Rain continuing the nautical theme. The event was on the day before my birthday, and I spent that night on the cold floor of Stratford Police station. Back home the next day, John Peel played a new Bunnymen session, which contained the new songs heard at the Stratford shows. In mid-December ‘83, the Bunnymen made a live appearance on The Tube, that kicked off with a stunning rendering of new song, Nocturnal Me. Finally, a month later in January 1984, The Killing Moon was released as a single. It was accompanied by a tasteful promo video, directed by photographer Brian Griffin. It was inevitable that The Killing Moon and forthcoming album Ocean Rain, would be hit records. A Warners PR campaign proclaimed Ocean Rain to be “the greatest album ever made". To this day, Bunnymen singer, Ian McCulloch, never a man to be modest, often claims that The Killing Moon is the greatest song ever written. Later in 1984, I saw the concluding show of the Ocean Rain tour at the Brixton Academy, again on my birthday. I remember taking acid at the gig, but it failed to kick in until I was on the bus home. Finally arriving back at my village, there was no way I was going home and risking an acid-fried confrontation with my Dad. So I spent much of the night roaming around the commons above our village, gazing up in awe at the night sky all filled with jewels. Many years later, in Mysore, Southern India, I was asking noted local Vedic Astrologer, Dr Shankanarayana Jois, if astrology can really predict ones future. He told me, “A person’s life comes under two influences. Firstly, there are certain events, which according to ones karma must occur; that is your fate. And then there is your will; how one chooses to react to those inevitabilities". I immediately thought of the lyrics of The Killing Moon, and realised as if for the first time, what a universal, timeless song McCulloch had written, decades before. • Credits Audio Source Echo & the Bunnymen | The Killing Moon | released 20 January 1984 Video Source Àngel Casas Show | TV3 | 22 May 1984 | Directed by Àngel Casas | Produced by Paz Canals Musicians Ian McCulloch | vocals and guitar Will Sergeant | lead guitar Les Pattinson | bass Pete De Freitas | drums Adam Peters | piano, cello The Bunnymen | Gil Norton | 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 DailyMotion.com/NachosVideos Instagram.com/NachoVideo Twitter.com/NachosVideos Patreon.com/nachosvideos TheNachoVideos@gmail.com
Nico | I'm Not Sayin' | New Video From Original Uncut Raw Footage | 1965
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Nico | I'm Not Sayin' | New Video From Original Uncut Raw Footage | 1965

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
Cocteau Twins | Sugar Hiccup | 1983
03:40

Cocteau Twins | Sugar Hiccup | 1983

This video is a completely re-edited version of a Cocteau Twins TV performance of Sugar Hiccup, a track from their 1983 album Head Over Heels. • Wiki: Head over Heels is the second studio album by Scottish alternative rock band Cocteau Twins. The album was released on 24 October 1983 through the label 4AD. It featured the band's signature sound of "Guthrie's lush guitars under Fraser's mostly wordless vocals". Fabulous piece published in The Quietus on the 40th anniversary of Head Over Heels, written by Darran Anderson: https://thequietus.com/articles/33528-coct • As a teenager in 1983, I had my dream job, working behind the counter at Virgin Records, Croydon High Street. I vividly remember in October that year, Head Over Heels arriving at our store. I recall that the 4AD artwork made it hard to ascertain which was side 1. I put the vinyl on the record deck and the store became filled with exquisite soaring vocals, reverb drenched guitars and unidentifiable instruments. Prior to that, I’d written off the Cocteau Twins as gothy 2nd-rate Banshees imitators. But somehow with Head Over Heels the band had completely reinvented themselves, and created something entirely new. Certainly I’d never heard anything like it. Sugar Hiccup was very obviously the most accessible and catchy song from the Head Over Heels album. It quickly became a staple for alternative music lovers during that era. It’s no surprise that a few weeks after the album was released, an 12” EP followed with Sugar Hiccup as the lead track. Perhaps if 4AD and the band had the budget and the will, a promo video could have been made, and Sugar Hiccup might well have been a 1983 Christmas hit! Until quite recently, I was unaware that there was any video of the Cocteau Twins performing Sugar Hiccup. Then I stumbled across the Àngel Casas Show footage, originally broadcasted on the 3rd of July 1984 on TV3, a Catalan TV station. The footage is very problematic, because it features some extremely, shall we say, "random", lip syncing. Liz Fraser seems to remember many parts wrongly, and even totally omits miming whole sections of the song. Her voice rings out, as she stands mute at the mic, and it seems, a little embarrassed. A few months ago, I tasked myself with creating a coherent video for Sugar Hiccup with the Àngel Casas Show material, and have been dabbling with it ever since. I swapped scenes around and manipulated others. The fact that the original video often has lengthy double and triple dissolves did not make things any easier. Anyway, now we have a video that [hopefully] appears to show Liz Fraser miming correctly to Sugar Hiccup. You dear viewer, may be the judge of whether it works, or not. Thanks for watching, hope you dig it! • Credits Video source: Cocteau Twins | Sugar Hiccup | Àngel Casas Show | TV3 | 3 July 1984 | Episode Directed by Àngel Casas and Produced by Paz Canals Audio source: Cocteau Twins | Sugar Hiccup | from the album Head Over Heels | Recorded Palladium Studios, Edinburgh | Released 24 October 1983 ℗ 1983 4AD Ltd Music Publisher: CMRRA Music Publisher: Universal Music Publishing Ltd Music Publisher: Harry Fox Agency Music Publisher: Momentum 3 Music Musicians: Liz Fraser | Vocals Robin Guthrie | Guitar | bass guitar, keyboards, drum machine Cocteau Twins | 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 #CocteauTwins #HeadOverHeels #SugarHiccup
A Portrait of Mark Wardel | A Film by  Bernd and Nacho | 2023
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A Portrait of Mark Wardel | A Film by Bernd and Nacho | 2023

London, May 20th 2023 Artist Mark Wardel creates highly regarded David Bowie inspired art. Filmmakers Bernd and Nacho share Mark’s obsession with David Bowie in the 1970’s. And his desire to create art under David Bowie’s influence. The three arranged to meet up with each other for the first time, with cameras and recording equipment to document Mark’s art, his process and his story. This film is day two of their time together. Mark Wardel AKA TradeMark is a contemporary artist who as well as exhibiting his own painting and fine art, applies his technique to producing artwork/imagery for high profile clients in the entertainment, music and club industries. Mark’s instantly recognisable work draws on influences from traditional portraiture to post punk graphics, New York street art of the 70s & 80s, Soviet-era propaganda posters, pop art and high-fashion imagery that explores issues of identity, portraiture and the self-created personae prevalent within the entertainment, club and urban sub-cultures. Mark has also featured on magazine and record covers as well as prestigious club campaigns worldwide. Clients and Collectors include: David Bowie / Isolar New York City, Defected Records, V&A Museum, Daphne Guinness London, Soho House, Ministry Of Sound, Marc Almond, Kylie Minogue, Absolut Vodka and Boy George. Mark Wardel lives and works in London. markwardel.com Nacho is known for creating and restoring archive music videos and documentaries. He has a popular YouTube channel - Nacho's Videos - which boasts 30,000 subscribers and 15 million views. Following David Bowie's death in 2016, Nacho started making Bowie videos and uploading them to his YouTube channel. Nacho's Bowie videos get a lot of views and positive reactions. In 2020, Nacho produced the documentary ‘David Bowie in New York 1980: The Elephant Man, Scary Monsters and Other Strange People’. In 2021, Nacho re-released his documentary ‘David Bowie is The Man Who Fell to Earth’. The film received a lot of attention and praise, including from the original film’s director, Nic Roeg. It was endorsed by the official David Bowie Estate website and received commendation from Bowie’s wife, Iman. In 2023, he released another documentary, David Bowie Live on Stage Earls Court London 1978 | Part 1 Nacho's work has been featured in many music magazines, including Rolling Stone, Rock & Folk, NME, online media channels such as Dangerous Minds and Far Out Magazine, and on the official David Bowie channel. Nacho has contributed to music documentaries and TV segments. He also undertakes "official" archive music video restoration work for artists and labels. In 2021 one of Nacho’s documentaries was shown at the Wonderous Stories Film Festival in London. In 2022 and 2023, he appeared at the David Bowie World Fan Convention, in Liverpool and New York City. Nacho lives and works in Hong Kong. nachosvideos.com Bernd Pick is a red haired German video editor who lives near Cologne. #DavidBowie #CrackedActor #NachosVideos #London #Art #GraphicArt #BowieInspiredArt
The Jam | A Town Called Malice | Re-edited Promo | 1982
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The Jam | A Town Called Malice | Re-edited Promo | 1982

The Jam’s single, A Town Called Malice was released on this day, the 29th of January 1982. This video is a restored and re-edited version of the original promo video. • Time is short and life is cruel but it's up to us to change… When I was growing up, The Jam seemed ubiquitous; always having a new single out and making another appearance on Top of the Pops, all of which were uniformly brilliant. And indeed, between 1977, and their split in 1982, The Jam released 18 consecutive top 40 singles, including four number one hits. Those songs, often about the bitterness of working class life in Thatcher’s rotten Britain and aspirations for something better, are all so deep in my subconscious. The Jam produced six studio albums, including their final one, The Gift in March 1982. The release of The Gift was preceded in January ‘82, by one of The Jam's finest singles, A Town Called Malice; a song about trying to deal with hardship in a small, downtrodden English town. A Town Called Malice went straight into the UK charts at number one, and sold over a million copies. Mike Brady’s very nicely shot promo video is marred by some poor editing choices, IMO. The existing version of the promo on the Jam’s official YouTube channel is poor quality. So, here’s my fix. Thanks for watching, hope you dig it! • Credits Music video by The Jam performing Town Called Malice. (C) 1982 Polydor Ltd. (UK) Audio Source: The Jam | A Town Called Malice | Recorded at Air Studios, London; PolyGram Studios, London | released 29 January 1982 | from the album The Gift | Produced by Peter Wilson and the Jam Video Source The Jam | A Town Called Malice | Promo video directed by Mike Brady | 1982 Musicians: Paul Weller | lead vocals and backing vocals, electric guitar Bruce Foxton | bass and backing vocals Rick Buckler | drums Pete Wilson | organ Russ Henderson | percussion • Follow The Jam & Paul Weller: https://www.facebook.com/thejamfans/ https://www.facebook.com/paulwellerofficial/ https://www.instagram.com/paulwellerhq/ https://twitter.com/paulwellerHQ www.paulweller.com • 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 #TheJam #ATownCalledMice #TheGift #PaulWeller
The Fall | Totally Wired | Live in New York | June 1981
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The Fall | Totally Wired | Live in New York | June 1981

Restored classic footage of The Fall live in New York in 1981, performing Totally Wired, synced to a high quality audio of the same performance, from the album A Part of America, Therein. Posting on the anniversary of the death of The Fall's Mark E. Smith. RIP MES 5 March 1957 – 24 January 2018 • Totally Wired is one of the few early Fall songs that has its own Wiki page: Released in September 1980, the single became one of their signature tracks. It reached no. 2 in the UK Independent Singles Chart and no. 25 in New Zealand. In a dismissive review on its release, Danny Baker said in NME: "Totally Wired is ugly, and terribly produced…” The track appeared in John Peel's Festive Fifty in both 1980 and 1981, reaching 21 and 56 respectively and number 34 on All Time Festive Fifty broadcast in 2000. Subsequently it appeared at #57 on the "100 Greatest Singles of the Post-Punk Era" published by Uncut in 2001, in Gary Mulholland's book This is Uncool – The 500 Greatest Singles since Punk and Disco, published in 2003, and in the Guide To the (500) Greatest Songs from Punk To the Present published by Pitchfork published in 2014. The originally US-only 1982 album, A Part of America, Therein, was compiled from recordings of live shows in Chicago, New York, Memphis, Houston, and San Francisco, between May and July 1981. The quality of recordings is variable, and the album was described as a "slap-dash document" of the band's US tour. The Totally Wired live video, shot at an unspecified New York show, first came to my attention on the 1983 home video, Perverted By Language Bis. Thanks to the great site The Annotated Fall, we know that the hard to fathom extra M.E. Smiths lyrics in this live version are: You don't have to be weird to be wired You don't have to be a died hair punk funk shit-hot fucked up tick-tock pad You don't have to be strange to be strangled When the going gets weird, the weird turn pro http://annotatedfall.doomby.com/pages/the-annotated-lyrics/totally-wired.html And many thanks to then-Fall guitarist Mark Riley [he's the tall handsome chap stage left in this video] who has been kind enough to send us these recollections: I remember we’d just not long since finished a European tour and were off to America. It was our 2nd time over there but this time we were to do it ‘properly’ traveling some long distances in a van rather than doing a batch of dates on the east coast and then flying over to the west. This was the same tour that we opened for The Clash at Bonds Casino in Times Sq. They were supposed to do a handful of shows but the tickets were massively oversold and so it ended up a record breaking 17 night residency. I recall we played well that night. Perhaps too well, which resulted in one of the Clash road crew unplugging our amps prematurely and the DJ banging a tune on in the blink of an eye. Before we were about to soundcheck, Joe Strummer approached MES on a staircase and said to him “I bet you hate us don’t you…”. I’m not sure Mark ever told us his response. Maxwells was a great club. Small (200 capacity) and dark. Perfect for us. I say ‘was’ a small club as a quick bout of research tells me it was under new ownership by 2013 and shut its doors permanently in 2018. Its probably a Sushi Bar these days. This is a great version of Totally Wired. Sadly not featuring original drummer Paul Hanley who couldn't join us on this tour due to the fact that he wasn't old enough to even enter most of the clubs we were playing. Karl of course does a great job tho. Thanks for watching, hope you dig it! • Credits Video: The Fall | Totally Wired | Live in New York | June 1981 | Perverted By Language Bis DVD | Cherry Red Films | 2003 Audio: The Fall | Totally Wired | Live in New York | June 1981 | A Part of America Therein, 1981 | Released 1982 | Cottage Records | Rough Trade Records | BMG Rights Management (UK) Limited ℗ 1982 Sanctuary Records Group Ltd., a BMG Company Musicians: Mark E. Smith | vocals, keyboard Mark Riley | guitar, backing vocals Craig Scanlon | guitar, backing vocals Steve Hanley | bass Karl Burns | drums Facts, dates and even some phrases knicked from the brilliant fan site, https://thefall.org Huge thanks to Gary at Pulse Records, for unearthing the uber-rare Perverted By Language Bis DVD for me. 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 ok.ru/nachovideo Patreon.com/nachosvideos TheNachoVideos@gmail.com I edit, therefore I am #TheFall #MarkESmith #TotallyWired #APartofAmericaTherein1981
David Bowie | Suffragette City | The Imperial College of London | 12 February 1972 | Colour Version
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David Bowie | Suffragette City | The Imperial College of London | 12 February 1972 | Colour Version

This video is a new remaster of very early Ziggy and the Spiders footage, shot in London in early 1972. • Things were moving fast in the Bowie Universe – the Hunky Dory album had only just been released in mid-December 1971. By then most of the material for the next album, "The Rise and Fall of Ziggy Stardust & the Spiders from Mars", was already in the can. Three more songs were recorded on the 4th of February 1972, at Trident Studios in London. Suffragette City was one of them. This early live and raw, proto-punk version of Suffragette City was recorded at The Imperial College of London, just a few days later on the 12th of February 1972. It was only the third gig by the soon to be known as Ziggy & the Spiders, and therefore presumably one of the first times – maybe the first time? – that they had played Suffragette City live. According to a feature on the official Bowie site, the Imperial College gig is considered the first proper Ziggy & the Spiders gig, “After a false start (Aylesbury Jan 29), three non-starters (Lanchester Polytechnic Arts Festival, Coventry, Feb 3 - Cleopatra’s in Derby, Feb 4 - Guild Hall, Southampton, Feb 7), a pub gig (the official start of the tour at the Toby Jug, Tolworth, Surrey, Feb 10) and a debatable (High Wycombe Town Hall, Feb 11), David Bowie’s UK Ziggy Stardust tour got underway properly with the first Ziggy and The Spiders show (though not yet billed as such) in London at The Great Hall in Imperial College, South Kensington on Feb 12, 1972, for a mere 50p admission”. https://www.davidbowie.com/2015/2015/02/13/ziggy-at-imperial-college-this-day-in-1972 Musically, one cannot help but notice the big Stooges influence going on. As has been long understood, this is no coincidence: Iggy & The Stooges Ziggy & The Spiders • The raw colour version of the original broadcast has been grabbed from the INA website, and given the full Nacho sound and vision treatment. That included speed correction, and restoring Mick Ronson’s guitar at the beginning. Whereas, the intro of the original broadcast clip has a lot of TV station babble – in French - from the French TV segment. Also - as I wrote a few years ago, when I restored the B&W version – as I was already taking the liberty of rewriting history, I decided to also add in Mick Ronson’s first “Hey man!” backing vocal, because in the original, it is almost completely inaudible. Thanks for watching, hope you dig it! • Credits Video and Audio Source: David Bowie | Suffragette City | Live at the Imperial College of London | 12 February 1972 • INA France Musicians: David Bowie • vocals, guitar Mick Ronson • guitar, backing vocals Trevor Bolder • bass guitar, backing vocals Woody Woodmansey • 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 #DavidBowie #SuffragetteCity #MickRonson #ImperialCollegeofLondon
The Fall | Tempo House | Live at the Hacienda | Manchester |  27 July 1983
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The Fall | Tempo House | Live at the Hacienda | Manchester | 27 July 1983

It’s forty years since the Fall released their sixth studio album, Perverted by Language, on the 12th of December 1983. Here’s a live track from the album, synced to live footage from the same show. • The Fall front-man Mark E. Smith had an abrasive Northern aesthetic. His kitchen sink realism and magic realism was backed up by an ever changing cast of musicians. There were so many iterations of his band, the Fall, that Dave Simpson wrote a book about the 60 or so ex-members, called The Fallen. I couldn’t get my head around the Fall, until lineup # 16 - Mark E. Smith (vocals), Craig Scanlon (guitar), Marc Riley (guitar, keyboards), Steve Hanley (bass), Paul Hanley (drums), Karl Burns (drums, bass). In November 1981, the first recorded evidence of the new 2-drummer Fall lineup, was the magnificent single "Lie Dream of a Casino Soul". That year a previous Fall drummer Karl Burns had been substituting for Paul Hanley on a US tour, when the latter was denied a visa for being too young. On the Fall’s return to the UK, Smith had Burns stay on as a second drummer. Then in March 1982, the Fall released IMO their finest album, Hex Enduction Hour. Something was and still is just so right about Hex for me. The following month saw a new single, Look, Know / I'm into C.B. And then in October, whilst I was still trying to figure out Hex, there was already another album, Room to Live, and it’s bonkers single, Marquis Cha-Cha. Things went quiet for a while in terms of releases, whilst the band toured extensively. In March 1983, John Peel broadcasted a new session by the Fall (their sixth with him). It was stunning set of four very long new tracks. Included was Garden, which became my favorite Fall song - a sparse but but powerful drums dominated 10 minute groove, with lyrics so oblique, to this day I still don’t know what the song is about. I taped that session, and played it to death, until I knew every lyric and note. And then finally my chance came to see the Fall a couple of months later, on 21 May 1983 at the Electric Ballroom, in London. I remember I bought one drink at the bar, and then squeezed myself in at the front of the stage and waited. The Fall started with a brilliant new song that I hadn’t hear before, Tempo House. Again, a long bare bones double drummer driven groove, with almost no guitar playing, possibly none at all. The set consisted of almost all new songs, including the four aforementioned Peel session tracks. The set finished with a mind blowing version of Garden. And that was it for me, the Fall were my new favorite band for the next 6 months or so. As the year progressed, the singles The Man Whose Head Expanded / Ludd Gang, and Kicker Conspiracy / Wings were released. And rounding off 1983, was the Perverted by Language LP. IMO, that album isn’t as good as the Peel session versions and the live shows I saw. Then with a more commercial influence coming to the fore, I gradually became less fanatical. For me, the version of the Fall that I particularly cherish is the double drummer lineups, from late ’81 to late ‘83. And that Electric Ballroom gig remains one of the best live shows I ever saw by any band. • New Quietus article out today, The Fall’s Perverted By Language Revisited 40 Years On : https://thequietus.com/articles/33698-the-fall-perverted-by-language-review • The visual source for this video is the 2003 Cherry Red DVD, Perverted by Language Bis. That DVD is mastered so badly, I couldn’t do much to radically improve things. At least by syncing it to the Perverted by language album audio we get great sound. Thanks for watching, hope you dig it! Credits Video: The Fall | Tempo House | Live at the Hacienda | 27 July 1983 | Perverted By Language Bis DVD | Cherry Red Films | 2003 Audio: Tempo House | The Fall | Live at the Hacienda | 27 July 1983 | Perverted By Language ℗ 2005 Sanctuary Records Group Ltd., a BMG Company Performance: The Fall Composer: Mark E. Smith Composer: Stephen Hanley Musicians: Mark E. Smith | vocals, keyboard Craig Scanlon | guitar, backing vocals Steve Hanley | bass Paul Hanley | drums Karl Burns | drums Facts, dates and even some phrases knicked from the brilliant fan site, https://thefall.org Huge thanks to Gary at Pulse Records, for unearthing the uber-rare Perverted By Language Bis DVD for me. 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 ok.ru/nachovideo Patreon.com/nachosvideos TheNachoVideos@gmail.com I edit, therefore I am #TheFall #MarkESmith #PervertedByLanguage #TempoHouse
David Bowie Live on Stage Earls Court London 1978 | 2023 Documentary | Part 1
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David Bowie Live on Stage Earls Court London 1978 | 2023 Documentary | Part 1

On this day 45 years ago, the 30 June 1978, David Bowie played the 2nd of 3 shows at London's Earls Court. That show and the one on the following night, were filmed for an intended concert movie. This is a short documentary about those shows, which also attempts to answer the question: “Whatever happened to the STAGE movie?” This film combines live footage from the Earls Court shows and others from the ‘78 tour, plus material from TV and radio shows, with music from the Welcome to the Blackout album and other sources. • The David Bowie Isolar II 1978 World Tour, also known as The Low / Heroes World Tour or The Stage Tour, hit London in summer 1978. Three nights were played at the Earls Court Arena, 29 & 30 June & the 1 July. The never-completed and never-shown David Bowie-produced, David Hemmings-directed STAGE movie, was shot at two of the Earls Court shows. The forty+ years old undigitised reels for which were, until recently gathering dust at the Bowie archive. The STAGE movie is perhaps the ultimate lost treasure of the Bowie cannon. For decades it’s been the subject of much speculation among fans, who are desperate to see it. • When I started this project in 2016, I wanted to make use of the various bits of Earls Court footage and other sources from the ‘78 UK tour. I soon became hungry for information about the mythical STAGE movie, shot at the Earl’s Court shows. David Bowie had of course passed away in 2016 and David Hemmings in 2007. So how could definitive information be found? Bowie ‘78 collector Mike Jewell suggested contacting Rory MacLean, Hemings assistant during that era. I contacted Rory, who is now a celebrated author. He was very forthcoming, providing me with an abundance of information. He knew intimately the story of the film and the original hopes and intentions for it, and the reason why it was not released. A year or so later we met up and became fast friends. Eventually Rory and I decided to approach the Bowie Estate with an offer to remake the STAGE movie from scratch, the way Bowie had originally intended it. We sent the Estate a comprehensive thoroughly researched 3,000 word proposal. But unfortunately no response was received. I went back to my own humble Earls Court project. I decided to incorporate into it something of the events that led to the films production and eventual abandonment. Still, with so little footage available, and uneven audio sources, I was unable to complete it. When Welcome to the Blackout, an official live album recorded at the Earls Court shows was released in 2018, more possibilities presented themselves. But there was still a deficit of visual material and the results were unsatisfactory. Despite that, in 2022 I produced a semi-finished 20-minute rough-cut “Part 1”, and premiered it at the David Bowie World Fan Convention, in Liverpool. Shortly after that, actual footage shot by the Hemmings crew, intended for the STAGE movie, surfaced in Brett Morgen’s film Moonage Daydream. Utilising some of that footage, I swapped out some scenes in my “Part 1” that had formerly used poor sources. • It is strongly rumoured, almost a certainty as far as I’m concerned, that Brett Morgen is creating a new concert movie from the STAGE film footage. Assuming that concert film does indeed surface, my little documentary will become rather superfluous. So I feel some impatience to get it out. A few weeks ago, I showed the present version at the David Bowie World Fan Convention, in NYC. And now, finally it’s online. Thanks for watching, hope you dig it! • Video: LWT David Bowie Special | 1978 Moonage Daydream | 2022 | Brett Morgen Live in Tokyo | 1978 Live on Stage | Dallas | 1978 | Stanley Dorfman Northern Lights | Tyne Tees | 1978 Reporting Scotland | BBC | 1978 Various Super 8 1978 tour footage Audio: David Bowie | Joe the Lion [Soundcheck Rehearsal] | from Alabama Song 7” | Recorded Earls Court | 1 July 1978 | Mixed By John Prestage David Bowie | Warsawa | “Heroes” | What in the World | Blackout | Beauty and the Beast | 5 Years | from Welcome to the Blackout | Recorded 30 June & 1 July 1978 | Produced by David Bowie | Mixed by David Bowie & David Richards Interview with Nicky Horn | Capital Radio | 1979 Musicians: David Bowie | Vocals Dennis Davis | Drums Carlos Alomar | Rhythm guitar, backing vocals George Murray | Bass, backing vocals Adrian Belew | Lead guitar, backing vocals Simon House | Violin Sean Mayes | Piano, backing vocals Roger Powell | Keyboards, backing vocals Documents, photos courtesy Rory MacLean • Always more videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe NachosVideos.com Facebook.com/TheNachoVideos YouTube.com/NachoVideo DailyMotion.com/NachosVideos Instagram.com/NachoVideo Twitter.com/NachosVideos Patreon.com/nachosvideos TheNachoVideos@gmail.com
David Bowie | Fame | Live on the Cher Show | 18 September 1975
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David Bowie | Fame | Live on the Cher Show | 18 September 1975

A new restoration of David Bowie performing Fame on the Cher show, which was recorded on this day 18th of September 1975. This fierce, intense performance is surely one of Bowie’s greatest TV appearances. The three Cher Show performances are so contrasting – the fierceness of Fame, and the two duets with Cher – the tender Can You Hear Me, and the showy Young Americans medley. The Fame vocal performance is really astonishing in its forcefulness. It is also interesting because it uses a different mix of Fame as backing track for Bowie’s vocal. • Fame came into being during a one-day session at Electric Lady Studios in New York, in January 1975. It was based on a riff that guitarist Carlos Alomar had developed for Bowie's cover of "Foot Stomping'" by the Flares. Bowie thought the riff was too good to waste on a cover, and reworked it for a new song. John Lennon, who was in the studio with them, came up with the hook when he started to sing "aim" over the riff, which Bowie turned into "Fame". Bowie would later describe "Fame" as "nasty, angry", and fully admitted that it was written "with a degree of malice" aimed at his former manager Tony Defries and his management company, MainMan which was haemorrhaging Bowie’s money. On September the 20th, two days after recording the Cher show, Fame would be Bowie’s first US No. 1 record. In many ways, Fame was the blueprint for what was to come, and on September the 21st, Bowie reunited with producer Harry Maslin, Carlos Alomar, drummer Dennis Davis, plus guitarist Earl Slick, E-Street band pianist Roy Bittan and George Murray on bass replacing Emir Ksasan, for the start of the Station to Station sessions. • I’ve been hoping to get hold of a decent quality copy of this episode of the Cher show for many years. So it’s big thanks to Tyler for providing me with one at last. There was no in-studio audience for the Cher show, the applause and laughter was all dubbed on in post-production. Using a pre-broadcast production copy of the show, at the end of the performance we can hear the actual people in the CBS studio – presumably technicians etc - applauding Bowie's performance. Thanks for watching, hope you dig it! • Video: David Bowie | Fame | Live on the Cher Show | 18 September 1975 | Series 2 Episode 11 | CBS Television City, Los Angeles | Broadcast 23 November 1975 | CBS US | Cher show episode Directed by Bill Davis | APIS George Schlatter Production Inc. Audio: David Bowie | Fame | Live Vocal | Instrumental Mix by Harry Maslin | Backing track originally recorded January 1975 | Electric Lady Studios , NYC | Written by David Bowie | John Lennon | Carlos Alomar | ℗ 1975, 2016 Jones/Tintoretto Entertainment Co., LLC under exclusive license to Parlophone Records Ltd, a Warner Music Group Company Musicians: David Bowie | lead vocals, rhythm guitar, piano, percussion John Lennon | backing vocals, acoustic guitar Carlos Alomar | lead and rhythm guitars Emir Ksasan | bass Dennis Davis | drums Production: Harry Maslin David Bowie • Always more videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe NachosVideos.com Facebook.com/TheNachoVideos Youtube.com/NachoVideo DailyMotion.com/NachosVideos Instagram.com/NachoVideo Twitter.com/NachosVideos ok.ru/nachovideo Patreon.com/nachosvideos TheNachoVideos@gmail.com I edit, therefore I am #DavidBowie #Fame #YoungAmericans #HarryMaslin #CarlosAlomar
Tom Waits | In the Neighborhood | 1983 | Restored Promo
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Tom Waits | In the Neighborhood | 1983 | Restored Promo

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

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
The Smiths | This Charming Man | Belgium TV | 1983
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The Smiths | This Charming Man | Belgium TV | 1983

A new restoration of an early Smiths TV show appearance - seemingly never broadcast - miming to their wonderful 2nd single, This Charming Man. • The Smiths single This Charming Man was released forty years ago, 31 October 1983. In 2007, Noel Gallagher of Oasis said of the first time he heard the track: "The second I heard 'This Charming Man' everything made sense. The sound of that guitar intro was incredible. The lyrics are fuckin' amazing, too. People say Morrissey's a miserable cunt, but I knew straight away what he was on about." My relationship with The Smiths music started on this month, 40 years ago, 19th of May 1983. They were supporting The Fall at the Electric Ballroom in Camden. But I confess, I don’t think I paid them much attention, because I have zero recall of their set. And the fact is, I was there for The Fall, probably my favourite band at the time. Then a little later in ‘83, I was working behind the counter at Virgin Records, Croydon High Street, when This Charming Man came out. As a depressed, anxious 17 year old, with a broad musical taste, I was profoundly impressed with the record, and I played it in the store several times a day. Perhaps I was still regularly playing it months later, because I remember in April ‘84 receiving an anonymous valentines card at the shop with the inscription, “To This Charming Man from a Wonderful Woman”. Wiki : This Charming Man is defined by Johnny Marr's jangle pop guitar riff… However, Marr’s sound was not so simple to create. In a 1993 interview, in Guitar Player magazine, Marr stated, “… it was the first record where I used those highlife-sounding runs in 3rds. I'm tuned up to F# and I finger it in G, so it comes out in A. There are about 15 tracks of guitar. People thought the main guitar part was a Rickenbacker, but it's really a '54 Tele. There are three tracks of acoustic, a backwards guitar with a really long reverb, and the effect of dropping knives on the guitar – that comes in at the end of the chorus.” Lyrically, the song featured Morrissey's characteristically morose lyrics… Feeling detached from the early 1980s mainstream gay culture, Morrissey wrote This Charming Man to evoke an older, more coded and self-aware underground scene. The singer said of the song's lyrics: "I really like the idea of the male voice being quite vulnerable, of it being taken and slightly manipulated, rather than there being always this heavy machismo thing.” It’s hard to adequately state how important The Smiths were, during their ‘83 to ‘87 existence. The combination of Johnny Mar’s inventive virtuoso guitar, Morrissey’s uniquely eloquent and sensitive lyrics, and Andy Rourke and Mike Joyce's crisp rhythm section, not only gained them high praise from critics, but also an apparently never ending string of hit records - during those years The Smiths released over 20 singles, all hits and all uniformly great. • As most people reading this will already know, The Smiths bassist, Andy Rourke passed away this month (in fact exactly 40 years since the night I first saw The Smiths). I wanted to restore and put out this video immediately, but didn’t have the time until now. In some ways, this TV appearance makes for a more satisfactory video than the official one, which is online in poor quality, and bizarrely never shows us a close up of Johnny Marr’s face - he’s mostly seen from the neck down, with closeups of his guitar. Was Johnny having a bad hair day, one wonders? Anyway, look out for the nice Andy Rourke moment about two thirds of the way into the video, when a large blue-screen triangle (showing stills of French actor Jean Marais from Jean Cocteau’s 1950 movie, Orpheus, as featured on the sleeve of This Charming Man) slowly lowers from the ceiling and Andy, in a very good naturedly way, ducks to the side trying to keep his head in the shot. RIP Andy Rourke 17 January 1964 – 19 May 2023 Thanks for watching, hope you dig it! • Credits Video Source: The Smiths | This Charming Man | Generation 80 | RTBF (Radio-télévision belge de la Communauté française) | 1983 | Not broadcast Audio Source: The Smiths | This Charming Man | Recorded Strawberry Studios, Manchester | October 1983 | Released on Rough Trade Records | 31 October 1983 Musicians: Johnny Marr | Guitars Morrissey | Vocals Andy Rourke | Bass Mike Joyce | Drums John Porter | Production • Always more videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe NachosVideos.com Facebook.com/TheNachoVideos YouTube.com/NachoVideo DailyMotion.com/NachosVideos Instagram.com/NachoVideo Twitter.com/NachosVideos ok.ru/nachovideo Patreon.com/nachosvideos TheNachoVideos@gmail.com I edit, therefore I am #TheSmiths #ThisCharmingMan #JohnnyMarr #Morissey #AndyRourkeRIP
Cocteau Twins  | Musette and Drums | Live on The Tube | 13 January 1984
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Cocteau Twins | Musette and Drums | Live on The Tube | 13 January 1984

A new restoration of this classic live TV performance of Musette and Drums, a track from the Cocteau Twins album Head Over Heels, which was released forty years ago on this day, 24th of October 1983. • Wiki: Head over Heels is the second studio album by Scottish alternative rock band Cocteau Twins. The album was released on 24 October 1983 through the label 4AD. It featured the band's signature sound of "Guthrie's lush guitars under Fraser's mostly wordless vocals". Ned Raggett, in the Guardian: Compared to (Cocteau Twins debut album) Garlands’ striking but mostly monolithic impact, Head Over Heels demonstrated an easy variety throughout. Fraser’s singing was notably more direct in the mix, even as her lyrics, while often still perfectly understandable, began to shift away from conventional vocabulary towards enigmatic, emotional sound. Meanwhile, Guthrie’s arrangements, expanding beyond guitar and bass, ranged from the jazz-pop flow of Multifoiled to the sparkling, sax-tinged shimmer of Five Ten Fiftyfold to the steady cascade of Sugar Hiccup. Musette and Drums wrapped up the album on a dramatic note – which would become the hallmark of later releases. With the force of Garlands translated into a gripping combination of guitars and drum machine that sounded like waves constantly crashing on the shore, while Fraser sang with commanding, rich tones like an invocation of something from beyond, it was one hell of a marker to lay down. Fabulous piece published in The Quietus on on the 40th anniversary of Head Over Heels, written by Darran Anderson: https://thequietus.com/articles/33528-cocteau-twins-head-over-heels-anniversary • As a teenager in 1983, I had my dream job, working behind the counter at Virgin Records, Croydon High Street. I vividly remember in October that year, Head Over Heels arriving at our store. I can recall the 4AD artwork made it hard to ascertain which was side 1. Then I put the vinyl on the record player and heard for the first time, the reverb soaked guitars and other unidentifiable instruments and soaring vocals fill the store. Prior to that I’d written off the Cocteau Twins as gothy 2nd-rate Banshees imitators. But somehow with Head Over Heels the band had completely reinvented themselves, and created something entirely new. Certainly I’d never heard anything like it. Soon after this Tube performance, in the Spring of 1984, I saw the Cocteau Twins live for the first time. I followed them throughout their career, bought every record and saw them live many times. • Thanks to mon ami at Jeyem Archives for giving me a copy of the broadcast source. I couldn’t iron out every wrinkle, but overall it’s a sound and vision upgrade to anything else out there. Thanks for watching, hope you dig it! • Credits Video and audio source: Cocteau Twins | Musette and Drums | Live on The Tube | 13 January 1984 Musicians: Liz Fraser | Vocals Robin Guthrie | Guitar Cocteau Twins | 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 #CocteauTwins #HeadOverHeels #MusetteandDrums
Kate Bush | Running Up That Hill | Live at the London Palladium | Secret Policeman’s 3rd Ball | 1987
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Kate Bush | Running Up That Hill | Live at the London Palladium | Secret Policeman’s 3rd Ball | 1987

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
Brian Eno-David Byrne | Mea Culpa | Original Bruce Conner Promo Video Restored | 1981
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Brian Eno-David Byrne | Mea Culpa | Original Bruce Conner Promo Video Restored | 1981

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
Midge Ure - If I Was [Official HD Remastered Video]
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Midge Ure - If I Was [Official HD Remastered Video]

Midge Ure - The Gift : 4CD Deluxe Edition released 22nd September 2023. Grab a copy here: https://MidgeUre.lnk.to/TheGift2023 Follow Midge Ure: Website: http://www.midgeure.co.uk/ Facebook: https://www.facebook.com/midge.ure Instagram: https://www.instagram.com/midge_ure/ Video production credits: Chrysalis Records Lyrics: If I was a better man Would fellow men take me to their hearts If I was a stronger man Carrying the weight of popular demand Tell me would that alarm her I'd never harm her at all If I was a soldier Captive arms I'd lay before her If I was a sailor Seven oceans I'd sail to her If I was a wiser man Would other men reach out and touch me If I was a kinder man Dishing up love for a hungry world Tell me would that appease her I want to please her again If I was a painter I'd paint a world that couldn't taint her If I was a leader On food of love from above I would feed her If I was a poet All my love and burning words I would show it If I was her lover Her eyes in kisses I would cover Come here my baby Oh they can't touch you now I'll keep you safe and warm I'll never leave you at all Come here my baby Oh they won't touch you Dishing up love for a hungry world Tell me would that appease you I want to please you again If I was a soldier Captive arms I'd lay before her If I was a sailor Seven oceans I'd sail to her If I was a painter I'd paint a world that couldn't taint her If I was a leader On food of love from above I would feed her If I was a poet All my love and burning words I would show it
Patti Smith Group | 25th Floor | Live on the Old Grey Whistle Test | 3 April 1978
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Patti Smith Group | 25th Floor | Live on the Old Grey Whistle Test | 3 April 1978

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
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