This week it is 40 years since Simple Minds released the album New Gold Dream (81-82-83-84) on 17 September 1982. Here is a restored and edited version of one of the early live performances of a track from the album, King is White and in the Crowd. "I have the most beautiful memories of New Gold Dream. It was made in a time between Spring and Summer and everything we tried worked. There were no arguments. We were in love with what we were doing, playing it, listening to it. You don't get many periods in your life when it all goes your way." Jim Kerr Prior to the 4 European shows in June 1982, that include this one, there had been an almost 2-month hiatus in the Sons and Fascination tour. During that time, Simple Minds were at the Manor recording studio in Oxford, finishing the New Gold Dream album. Some of the new material had already been added to the Sons and Fascination live shows since earlier in the year. That tour would finish in mid-August 1982. But there would only be a 2-week pause between the end of what had been an almost year-long tour, and the commencement of the New Gold Dream tour, in early September 1982. • When New Gold Dream was released in September 1982, Paul Morley wrote in the NME, "…I am jarred by the constant beauty of this music. New Gold Dream robs me of my breath." A more recent article in the Guardian review describes New Gold Dream as, “.. an album of almost supernatural-sounding positivity and ethereal wonderment. However, the final track on the album, King is White and in the Crowd, has a dark, foreboding feel. The lyrics were inspired by a TV broadcast of the (then recent, 6 October 1981) assassination of President Sadat of Eygpt: "There was a thing of beauty in that tragedy. It was a coincidence that it concerned Sadat, it didn't make any difference. I saw it on TV: Sadat was inspecting a parade, some soldiers walk past and suddenly they shoot him like an animal. And the next thing you saw was a close-up of his wife." Jim Kerr This great site http://www.simpleminds.org was invaluable in helping me piece together a snapshot of Simple Minds in 1982. • In 1982 there was no new albums by Bowie, Echo and the Bunnymen, New Order, Talking Heads or Japan. The albums I loved that year were Junkyard by The Birthday Party, Hex Enduction Hour by The Fall, Miami by The Gun Club and New Gold Dream by Simple Minds. Simple Minds were having hit singles then, and yet they were quite an oddity and certainly an acquired taste. I remember at the time, the band seemed to have many appearances on Top of the Pops. And in each successive one, Jim Kerr appeared to be thinner and paler, and his dancing more eccentric. Since then, New Gold Dream has reached almost universal acclaim and classic album status. Rightly so, in my opinion. So I was seeking a suitable video to add some new gold sheen to. This solid, early performance of King is White and in the Crowd appealed to me, and I could see a lot of room for improvement in sound and vision. The visual has been processed in various ways and slightly re-edited. On the audio side, producer pal, Particledots separated the vocal and the music. That allowed me to more easily edit, EQ, compress and generally squeeze more out of the flat, uneven and narrow sound of the original. For example, on the original, Jim Kerr’s vocal is very dry; adding some judicious reverb has really improved it, I think. Thanks for watching, I hope you dig it! • Video and Audio Source: Simple Minds | King is White and in the Crowd | Koln | 6 June 1982 | Rockpalast | West German TV show | WDR Personnel: Jim Kerr | vocals Charlie Burchill | guitar Michael MacNeil | keyboards Derek Forbes | bass Mike Ogletree | 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 Patreon.com/NachosVideos TheNachoVideos@gmail.com I edit, therefore I am #SimpleMinds #KingisWhiteandintheCrowd #NewGoldDream

Remake of a video I originally created a few years ago, of Bowie performing live on the second leg of the 1974 Diamond Dogs tour. The source of the footage is the superb Universal Amphitheatre performance, from “Cracked Actor”, Alan Yentob’s 1975 BBC documentary. The footage is cut to the 2017 "Cracked Actor" album version of live recordings from that show. • Cracked Actor was originally a song from David Bowie's 1973 album, Aladdin Sane. When it was subsequently performed on the 1974 Diamond Dogs tour, like most of the older material, Cracked Actor was rearranged to suit Bowie's new direction. Some of the rearrangements fared better than others, in my opinion. In the case of Cracked Actor, I love what they did with it, especially when the performance aspect is seen. "For the 1974 Diamond Dogs tour Bowie removed “Cracked Actor” from its back-room origins and staged it entirely within an actor’s fevered mind: he wore a cape and sunglasses and sang to a skull in his hand, a la Hamlet, then French-kissed the skull... A curse on Los Angeles, “Cracked Actor” would rebound on Bowie: it became the title of a 1974 documentary chronicling Bowie living in LA at his lowest state, reduced to a jittery husk of a human being." - Chris O’Leary, from his superb blog, Pushing Ahead of the Dame https://bowiesongs.wordpress.com/?s=Cracked+actor • Since making the original version of this video, back in 2016, better sources and technologies have emerged. For this upgrade I utilized the superb 2017 “Cracked Actor” album, mixed by Tony Visconti. Whereas my original video was soundtracked from a bootleg, which was all that was available at the time. I did feel compelled to add one element to Visconti’s mix – the very pleasing crack of the clapperboard just before Bowie starts singing is absent from the 2017 mix, so I edited it back in from the bootleg source. As I originally wrote in 2016: The concert material contained in the 1975 Alan Yentob BBC documentary, Cracked Actor, is really well filmed, as one would expect from the BBC. Unfortunately, however the film contains no complete song. Therefore some imagination and technology is required. Here, I am more or less re-treading what others have tried before, but perhaps not at this quality. I do hope, the powers that be at the BBC will look kindly on this video, and my humble efforts with their fine material, and allow this video to remain published here on my YouTube channel. Hope they, and you dig it! • Credits Video Source: Universal Amphitheatre | 5th of September 1974 | Cracked Actor | 1975 BBC documentary | Produced & Directed by Alan Yentob Music Source: David Bowie | All the Young Dudes [excerpt] | Cracked Actor | Live at the Universal Amphitheatre | 5th September 1974 | From the album Cracked Actor | Produced by David Bowie | Mixed by Tony Visconti | Released 2017 Musicians: David Bowie | Vocals Michael Kamen | Electric piano, Moog synthesizer, oboe, music director Earl Slick | Lead Guitar Carlos Alomar | Rhythm Guitar Mike Garson | Piano, Keyboards David Sanborn | Alto Sax, Flute Richard Grando | Baritone Sax, Flute Doug Rauch | Bass Greg Errico | Drums Pablo Rosario | Percussion Gui Andrisano | Backing Vocals Warren Peace | Backing Vocals Ava Cherry | Backing Vocals Robin Clark | Backing Vocals Anthony Hinton | Backing Vocals Diane Sumler | Backing Vocals Luther Vandross | 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. NachosVideos.com Facebook.com/TheNachoVideos YouTube.com/NachoVideo ok.ru/nachovideo DailyMotion.com/NachosVideos Instagram.com/NachoVideo Twitter.com/NachosVideos TheNachoVideos@gmail.com I edit, therefore I am #DavidBowie #CrackedActor #AladdinSane#DiamondDogs

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

A new edit of rare footage of Echo And The Bunnymen in 1982, part of an appearance on the Dutch TV show Götterdämmerung 2000. • 1981 had been a very busy and productive year for the Bunnymen. It had started with the show at the Pavilion Gardens in Buxton, Derbyshire on 17 January, which had been filmed for the Shine So Hard video. The remainder of the year was taken up with the recording, release and promotion of the band’s second album, Heaven Up Here, including numerous concerts in the US, Canada, UK, Europe, Australia and New Zealand. By contrast, in 1982 the band only released one single and played a mere 24 shows. The year had started out in a promising way – in late January, only a few weeks after the end of the Heaven Up Here tour, the band recorded a Peel session, which featured 3 new songs. One song was soon rerecorded, and became The Back of Love. It was one of the many songs the band were working on at the time, for what would be their third album, Porcupine. The album was to be fraught with difficulties. At some point around mid-1982, the bands label WEA were presented with a finished album, which they firmly rejected for being "too uncommercial." The band begrudgingly agreed to rerecord the album, which would eventually appear in February 1983. In late April / early May 1982, there was a short tour of Scotland. On 21 of May, The Back of Love was released and quickly became the band’s first hit single, garnering two appearances on Top of the Pops. From mid-July until the end of August, the band played festivals and a handful of other shows, including the high profile free concert in Liverpool’s Sefton Park, which attracted 20,000 people. One of the shows at that time had been in Amsterdam on 23 July. Presumably, the Götterdämmerung 2000 TV appearance was from around that day. The Bunnymen performed one new song on Götterdämmerung 2000 – Heads Will Roll. It is interesting to compare this 1982 version, with the one that would surface on Porcupine 7 months later. To me, the Porcupine version is cluttered with too many overdubs, and de-fanged with the excellent final minute removed, that featured drummer Pete Defreitas smashing around his kit in fine style, whilst Will Sergeant's backwards-sounding guitar vies with some wonderful cello sounds. • ’82 was lean times for a young South London Bunnymen fan. The first vaguely London gig the band played that year was at Aylesbury Friars on 22 December. So, three days before Christmas, my mate and I set off on a seemingly interminable journey to the North Western end of the Metropolitan Line, and beyond. Arriving at Aylesbury late afternoon, we immediately went straight to the venue, and sneaked inside. We hid on the balcony on the left side of the hall, and after a short time we became ecstatic when the Bunnymen took to the stage to do their sound check, including extended solo drumming by Pete. As if that wasn’t enough, later upon entering a pub, we were astonished to find therein Ian MacCulloch having a drink. I didn’t have the wherewithal to speak to Mac; I seem to remember I just stood near him for a while, desperately trying to hide the fact that I was staring at him. These two extraordinary moments overshadow the actual gig, which I have no memory of. After the show, there were no trains going back to London, or anywhere. It was winter and it was cold. In fact, the poster for the gig was of a rotund smiling snowman, with ECHO AND THE BUNNYMEN emblazoned across his fat belly. At the deserted train station, my mate and I found an empty train, we went inside and tried to sleep for a few hours, until the service for London started up in the early hours of the next day. • The original Götterdämmerung 2000 material left a lot to be desired. I've cleaned-up the clip as best as possible and synced it to a decent audio source. Some of the original editing really sucked, as did some of Mac’s lip syncing. I’ve reedited the clip and tried to remedy the worst of these offenses. Thanks for watching, I hope you dig it! • Video Source: Echo And The Bunnymen | Heads Will Roll [Summer Version] | Performed on Götterdämmerung 2000 | July 1982 Audio Source: Echo And The Bunnymen | Heads Will Roll [Summer Version] | Recorded 1982 | First released as B-side of Never Stop on 8 July 1983 Personnel: Ian McCulloch | vocals, guitar Will Sergeant | lead guitar Les Pattinson | bass Pete de Freitas | drums Kingbird [Ian Broudie] | 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 #EchoAndTheBunnymen #HeadsWillRoll #Porcupine

The video is a new edit and sync of the BBC David Bowie 1974 L.A. rehearsal footage, cut with “Right” from Bowie’s 1975 album “Young Americans”. ​ In the footage, we see Bowie and his singers in September '74, rehearsing Right, at a Los Angeles studio. Featured in the video are: David Bowie Luther Vandross Robin Clark Ava Cherry Anthony Hinton Mike Garson (Keyboards) Note: The identity of the saxophonist is unconfirmed. The footage was shot for the 1975 BBC David Bowie documentary “Cracked Actor”, which was produced and directed by Alan Yentob. The colour portions of the footage were used in Cracked Actor. The black and white footage was first utilised in Francis Whateley's BBC documentary, "David Bowie: Five Years" from 2013. • The Right Way Precise details about the making of David Bowie's Young Americans album are hard to verify. We know that recording began in earnest in mid-August 1974, a few weeks after Bowie’s “Diamond Dogs" tour of America had ended on the 20th of July. The recording sessions were at Sigma Sound studios in Philadelphia, and were produced by Tony Visconti. “Right” started out at those sessions, one of a dozen new songs recorded during those 11 days. On the original cut of Right, the basic structure of the song, including many of the complex vocal harmony arrangements, were already in place. However, there were some obvious differences to the versions that made it onto Young Americans. For instance; the early version omits the David Sanborn sax break at the beginning. Also in the earlier version, Bowie opens the song in a high register, whereas on the final one, he sings it in a much lower key. “Right”, from the August Sigma sessions is clearly a totally different vocal take to the final Young Americans album version. The early Sigma version of Right had an official release in 2016; a track on the album, The Gouster. The Gouster is essentially Visconti’s compilation of his early Sigma takes. By the end of those August sessions, a new David Bowie album was considered virtually finished. Famously ‪on August the 22nd‬, the final night at Sigma, Bowie invited into the studio the fans that had been keeping a nightly vigil outside the building during the recording sessions. "The Sigma Kids", as they became known, were regaled with two playbacks of the new Bowie album as it stood at that time, in rough-mix form. About ten days later on September 2nd‬, Bowie and the band returned to touring the U.S. The Cracked Actor documentary was shot at that time, including this rehearsal footage, which shows Bowie and his singers rehearsing the vocal arrangements for “Right”. The location was a rehearsal studio in L.A. - in all likelihood Cherokee, where a year later Station to Station would be recorded. The tour continued through September, October, and November. The last date of Bowie's '74 U.S. tour was on December 1st in Atlanta, Georgia. However, in mid-November, there was a 5 day lull in the tour, prior to a couple of shows at The Spectrum in Philadelphia. During that time, Bowie returned to Sigma, where he recorded more material, including four new songs, again with Tony Visconti producing. Whilst Bowie stayed in the States, Visconti went to the U.K., and worked on final mixes for some of the material. In early December, Bowie with Harry Maslin co-producing, recorded and mixed more material at Record Plant, in New York. On December the 3rd, the last recording session commenced. It is thought likely that Bowie's final vocal for “Right” was recorded at that session.‬ • Thanks to Chris Carter and his site theyoungamerican.co.uk for invaluable historical information and fact checking. • No Turning Back From “The Video Films We Saw”, my feature in David Bowie Glamour Fanzine, issue six: One Saturday morning in 2016, soon after Bowie passed away, I found myself once again watching Francis Whateley’s awesome “David Bowie: Five Years” documentary. Suddenly, the black and white footage of Bowie and his singers rehearsing together in ’74 jumped out of the screen at me. Despite the original sound being almost totally obscured by the interview voices, I suddenly realised the footage offered the possibility to make a video for a favorite track from Young Americans. So I set to work, and after a long editing session, a rough cut had been produced of the “Right” video. I could hardly believe my eyes - it was great! I asked myself, can it really be that simple? Eventually when I felt the “Right” video was finished, I uploaded it to my YouTube channel, and waited to see what / if there would be any reaction. Almost immediately, views and enthusiastic comments cascaded in. To my astonishment Carlos Alomar featured it on his site, and Mike Garson got in touch to ask if he could feature it on his! Soon, “Right” was used as part of Adam Buxton's Bowie video tour, which played at the British Film Institute and other venues around the UK. From my original 2016 video notes: Right' is my favorite track from Bowie's 1975 album, Young Americans. The final minute of the repeated "Never Need No" falsetto by Bowie, responding to the group's harmonies of "Never No Turning Back", is one of his best vocal performances IMO. For that section I tried to make it seem like Bowie is getting off listening to a playback of Right, and kinda vaguely singing along. Tho in realty, he's watching the band work on another track entirely. • ​ Doing it Right After watching the original 2016 version again recently, I saw that back then my instincts had been quite good, and the structure worked quite well. But I knew I could improve on the original formula, having acquired better quality footage and improved editing skills. So let’s see how we get on with the Right Promo [Take Three]. 
 Thanks for watching, hope you dig it! • Credits Video Source: BBC documentaries: Cracked Actor • 1975 • Directed by Alan Yentob David Bowie: Five Years • 2013 • Directed by Francis Whateley David Bowie: The Last Five Years • 2016 • Directed by Francis Whateley Music Source: David Bowie • Right • From the album Young Americans • Released 7 March 1975 Musicians: Lead vocals • David Bowie Rhythm guitar • Carlos Alomar Bass guitar • Willie Weeks Drums • Andy Newmark Clavinet • Mike Garson Alto sax • David Sanborn Conga • Larry Washington • Backing vocals • Luther Vandross • Robin Clark • Ava Cherry • Geoff MacCormack Production & Mixing • Tony Visconti • Harry Maslin • 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 I edit, therefore I am. #DavidBowie #Right #YoungAmericans #TonyVisconti #HarryMaslin #LutherVandross #SigmaSound #Philadelphia LosAngeles #1975

This is a film about a film - Nic Roeg's 1976 esoteric science fiction movie, The Man Who Fell to Earth, starring David Bowie and Candy Clark. This is a 2021 revised version of the original 2017 documentary, released now to coincide with the 45th anniversary of the movie’s premier at the Odeon Leicester Square in London, on the 18th of March 1976. This documentary was endorsed by both Nic Roeg and Candy Clark! For any serious student of David Bowie and his art in the Seventies, it is necessary to have a familiarity with Nic Roeg's 1976 esoteric science fiction movie The Man Who Fell to Earth, featuring Bowie in his first starring film role. Roeg's surreal movie has beguiled and baffled audiences since its release. The film explores, often in abstraction and allegory, the themes of alienation, power, love, trust and betrayal. David Bowie is The Man Who Fell To Earth is a documentary that explores several aspects of the movie and Bowie's involvement. It looks at the way the film came together, at Roeg’s working methods, and it attempts to partly explain some of the meanings in the work. Also, it is known that Bowie and his music were greatly influenced by Roeg and the time he spent working on the film. And so David Bowie is The Man Who Fell To Earth also tries to paint a small portrait of Bowie and his music during the era – from 1974 up to the 1977 album, Low. The film also ruminates on Bowie’s missing sound track for The Man Who Fell To Earth. After the filming, Bowie worked on music that was intended for the soundtrack to the movie. Famously, that music was not used and remains almost unheard to this day. However, elements of the unused music were later incorporated into subsequent albums. And so, as part of the story telling in David Bowie is The Man Who Fell To Earth, some of Bowie’s music from the era is used with re-edits of scenes from the movie, worked in with the interviews and commentary. 00:00:00 Prologue 00:02:00 Chapter I • All Things Begin & End in Eternity 00:13:15 Chapter II • Candy Clark & A New Career 00:26:17 Interval • How Candy Clark Saved The Man Who Fell to Earth 00:28:58 Chapter III • How Does an Alien Act? 00:41:25 Chaper IV • The Side Effects, The Sci-Fi & The Fall 00:57:20 Epilogue • What Happened to The Visitor? 01:04:00 End David Bowie is The Man Who Fell To Earth was seen by both original director Nic Roeg himself, and by the movie’s co-star Candy Clark. Both of whom approved of it: ‘What a great documentary - so interesting.’ - Nic Roeg ‘Spectacular footage and commentary about the making of The Man Who Fell To Earth. Made me cry seeing David and listening to his pride about his work. Learned a lot that I didn't know.’ - Candy Clark • The majority of the footage used here is of course from The Man Who Fell To Earth. But in addition another approximately fifty video sources were used. Of the many interview and other audio sources used, most notable is the excellent 1991 Roeg and Bowie commentary contained on the original laserdisc release of the film. Sixteen partial David Bowie tracks were used, as either re-imagined parts of the movie soundtrack, and also fairly gratuitously as excuses to just add some rocking tunes that had new or revised videos put together for them. Like a lot of my video projects, this thing happened by accident. Whilst I was working on the video for Subterraneans in 2017, I decided that it would be good to have an accompanying video that compiled in a very simple way, all the relevant interviews with Bowie where he talks about the film. I imagined that at most, it would be a thing of about 15 or 20 minutes. However, as is usually the case with me, I went very deeply into it, and found a lot more material than I bargained for. It quickly became clear that here was a great story that needed to be told in film, and the thing just kept growing in size and in complexity. In the end I worked on it consistently and compulsively for about 3 months. Along with the sourcing and the editing of the material, there was a lot of researching, in particular on Nic Roeg himself. Repeatedly listening / watching every interview I could find, I felt that I got to know a little of the workings of his creative mind, and I started to love the way he thought and expressed himself. Particularly relevant and enjoyable to me was the ’91 commentary that Roeg and Bowie, discussing TMWFTE. It really is a joy to listen to and it’s very evident that Nic and Bowie were two very smart cookies, who liked each other very much, and understood each other very well. Nic was a genius and a visionary. He was working in the film Industry for over 20 years before he directed his first movie. And what amazing movies he made. I love every one of his run of perfect films from 1970 - 1980 - Performance, Walkabout, Don’t Look Now, The Man Who Fell to Earth (TMWFTE) and Bad Timing. The opening I put together for David Bowie is The Man Who Fell to Earth, is an homage to the opening of Nic Roeg's 1980 movie, Bad Timing. Bad Timing is perhaps my favorite Roeg film - a tale of a doomed love affair, masochism, alcoholism, narcissism. The opening of Bad Timing is set in an art gallery in Vienna, and a shot of Gustav Klimt's The Kiss. Whilst the scene unfolds Tom Waits wondrous song, "Invitation to the Blues" informs the mood of what we can expect. Art Garfunkel strolls around the room of Klimt's subtly eying up Therese Russel and Waits sings, "...wonder if she might be single, she's a loner and likes to mingle... Got to be patient, try and pick up a clue... this ain't nothing but an invitation to the blues". It's one of the greatest openings to a movie I've ever seen. So for my film, I combined the scenes of Dr Bryce looking through the World Enterprises book, "Masterpieces in Paint and Poetry", and pausing at Brueghels "Landscape and the Fall of Icarus", and its accompanying excerpt from the Auden poem. I needed some David Bowie music from the era, that was in some way similar to the Waits song - a sad piano piece, with lyrics that inform on what is to come. "Some Are", was perfect on both counts. "Some are bound to fail", Bowie sings, as we close up on the legs of the doomed Icarus, drowning in the sea, whilst apparently no one around him seems to care. If you haven't seen it, do check out Nic Roeg's Bad Timing - it is a masterpiece. At the moment it's on YouTube: https://www.youtube.com/watch?v=MoboDspmoDo • Was Newton an alien? In the first TV interview where he talks about the movie, Bowie becomes visibly irritated when host Russel Harty describes Bowie's Thomas Jerome Newton character as an alien, and he almost chastises Harty for his presumptuousness; "…it's assumed he's an alien from outer space, but it may not necessarily be true". Yet on the surface at least, Newton is an alien, who has come to earth to transport water back to his own dying planet. And in interviews, Roeg always refers to Newton as an alien. Whereas Bowie doesn't seem so certain about Newton’s origins, or his mission. In the 1992 The Man Who Fell To Earth commentary, Bowie says, "Newton knows he's going to be betrayed, it's very obvious, but he seemingly doesn't do very much about it. So he must be here for some other purpose". As Bowie points out, there are Christ-like parallels. We could hypothesize that Newton’s falling to earth without any evidence of a space ship, is a kind of Immaculate Conception. And he arrives apparently a very pure being, who helps humanity advance and only seeks for himself a way to help his people. What are we to think is the "other purpose" Bowie mentions for him being here? Perhaps he came, like Christ to test human-kind? And we of course betrayed him. But in the end Newton wasn't born again. He becomes a ruined and lonely reflection of our contemporary human culture of decadence and self-destruction and immorality. • The original 2017 version of David Bowie is The Man Who Fell to Earth was online for a couple of years, and received a lot of views and positive reactions. Unfortunately it was abruptly taken down, when Vimeo de-platformed it without warning or explanation. Rather than simply put the original film up on an alternate platform, I decided to first try to make some improvements to it. Since the original version was made, my collection of Bowie footage has had many useful additions, and my editing skills have improved. So I’ve spent the last couple of months deep in editing myopia, refining the original work. There are still many ways I'd like to improve the work, and in fact here I am right up to the last minute, still making small changes. But today is the 45th anniversary of the 1976 premier, so I'm out of time. Perhaps I'll return to it in another 5 years, for the 50th anniversary. Anyway here are the fruits of the current labours. As I wrote back in 2017, at the very least what we have here is an hour in the brilliant and highly enjoyable company and art of Nic Roeg, David Bowie and Candy Clark. Thanks for watching, hope you dig it! • 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 TheNachoVideos@gmail.com I edit, therefore I am #DavidBowie #TheManWhoFelltoEarth #NicRoeg #CandyClark #YoungAmericans #StationtoStation #Low

Talking Heads • Air • 1979 Musicians: David Byrne •Vocals, guitar Chris Frantz • Drums Tina Weymouth • Bass Jerry Harrison • Guitar, vocals The Sweetbreaths • Backing vocals Video Source: The South Bank Show Documentary on Talking Heads • Season 3, Episode 4 • Shot in August 1979 • Produced and Directed by Geoff Dunlop • Edited by Tony Webb • Broadcast on 23 December 1979 Audio Source: Talking Heads • Air • from the album Fear of Music • Produced by Brian Eno and Talking Heads • Released 3 August 1979 Talking Heads • Air (Rehearsal) • The South Bank Show Documentary on Talking Heads • Mixed by Frank Gallagher Putting this out today, to commemorate that 40 years ago this weekend, 3rd / 4th of August 1979, one of my favorite albums was released: Talking Heads "Fear of Music". Much of the Fear of Music album was recorded at Chris Frantz's and Tina Weymouth's apartment. On April 22 and May 6, 1979, a mobile recording van, manned by a sound engineering crew, parked outside Chris and Tina’s apartment, and ran cables through their loft window. On these two days, Talking Heads recorded the basic tracks for the album, with Brian Eno co-producing. I was curious to know if the apartment we see in the Southbank film, where the band rehearse, is the same one they recorded the album in. I asked Chris Frantz this weekend: • Nacho: Hi Chris, the Southbank Show documentary, shot in August 1979, I believe. Is it where the album was recorded; Tina and yours apartment? • Chris: “Yes. This is the loft where Tina and I lived and the band rehearsed at 9-01 44th Drive in Long Island City New York. We recorded FEAR OF MUSIC there using the Record Plant Mobile.” • Nacho: I assumed that was so, thanks for confirming, Chris. I guess you must have had very tolerant neighbors? • Chris: Yes we did. This is my third (and final) video, edited from the brilliant 1979 Talking Heads Southbank Show documentary. Everything about the doc is great – the intelligent interviews, the lighting and photography, and especially the footage of the band playing live and in rehearsal. In the documentary, the performance of Air is incomplete and moreover, most of the music is obscured by talking. Since the band are rehearsing a track from Fear of Music, in the very same space they recorded it just a few months prior, this video just had to happen… And the intro is a tribute to Chris and Tina’s very tolerant neighbors! Hope you dig it! 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 Facebook.com/TheNachoVideos YouTube.com/nachomarcho Vimeo.com/NachosProductions nachomarcho@gmail.com #Talking Heads #FearOfMusic #Air #BrianEno #DavidByrne #TinaWeymouth #ChrisFrantz #JerryHarrison

This video is a new edit of footage from the movie ‘Rude Boy’, synced to the full length audio of Garageland, taken from The Clash album, ‘Rude Boy - The Directors Cut’, the ‘unofficial’ soundtrack bootleg. • The Clash Garageland originally appeared as the concluding track of their 1977 debut album, ‘The Clash’. The song was conceived partly as a response to NME critic Charles Shaar Murray’s damming review of the bands appearance at the Sex Pistols Screen on the Green concert in 1976: ‘The Clash are the kind of garage band who should be returned to the garage immediately, preferably with the engine running, which would undoubtedly be more of a loss to their friends and families than to either rock or roll.’ The opening verse of ‘Garageland’ is: ‘Back in the garage with my bullshit detector / Carbon monoxide making sure it's effective’, followed by the chorus: ‘We're a garage band / We come from garageland’. Ironically, two years after the 1976 review that inspired the band to write ‘Garageland’, in the NME Murray called The Clash ‘the greatest rock band in the world’. • In the Rude Boy movie, the performance of ‘Garageland’ is interrupted by cutting to other scenes. Thanks to the availability of ‘Rude Boy - The Directors Cut’ soundtrack album, the audio could be replaced with the complete uninterrupted version of the same performance. Apparently the bootleg album was cut from a copy of a rare Rude Boy soundtrack cassette tape, issued for promotional purposes at the time, by the band’s label CBS. To date there has not been an official release of the Rude Boy soundtrack. Perhaps for authenticity reasons – because most of the Rude Boy live tracks were not in fact live, but were re-recorded at Wessex Studios, in London in 1978, for inclusion in the film. I recut the available footage to the complete audio, to create what I hope convincingly appears to be a complete performance. Thanks for watching, hope you dig it! • Credits Musicians: Joe Strummer | Lead vocals, rhythm guitar Mick Jones | Lead guitar, backing vocals Paul Simonon | Bass, backing vocals Topper Headon | Drums Mick Jones | Bill Price | The Clash | Production Audio: The Clash | Garageland | ‘Live’ at Rehearsal Rehearsals | 1978 | Re-recorded at Wessex Studios 1978 | From the bootleg soundtrack album The Clash ‘Rude Boy - The Directors Cut’ Video: The Clash | Garageland | 1978 | From the movie Rude Boy | 1980 • Directed by Jack Hazan & David Mingay • Always more videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe NachosVideos.com Facebook.com/TheNachoVideos YouTube.com/NachoVideo DailyMotion.com/NachosVideos OK.ru/nachovideo Instagram.com/NachoVideo Twitter.com/NachosVideos YouTube.com/TheVideoFilmsWeSaw TheNachoVideos@gmail.com I edit, therefore I am #TheClash #Garageland #RehearsalRehearsals #RudeBoy #1978 #1980

A new restoration and edit of an archive clip of Roxy Music performing Love is the Drug, live in Europe (probably Germany) on the Flesh and Blood tour, 1980. • It's Friday evening - at least here in Hong Kong it is - so let's troll downtown, to the red light place, and catch a glimpse of Roxy Music in 1980, on their Flesh and Blood tour. The first leg of the Flesh and Blood tour was from late May 1980, until August 1980. There was a pause for about four months, and then the tour resumed in late December, running until early February 1981. Looking at a typical set list of the tour, about half of the songs were new material from the Manifesto and Flesh and Blood albums. The remainder of the set was made up of 1973 - 1975 Roxy classics, including Love is the Drug. I couldn’t find a video online of Love is the Drug from the Flesh and Blood tour, and for me at least, this video is the first time I’ve seen it performed on that tour. For my restoration, vision and sound have been enhanced, with gratitude to Particledots, who helped me enormously to come up with solutions to the very uneven sound. Thanks for watching, I hope you dig it! • Video and Audio Source: Roxy Music | Love is the Drug | Live from the Flesh and Blood Tour | WDR | German TV | 1980 Personnel: Bryan Ferry | Vocals Phil Manzanera | Guitar Andy Mackay | Saxophone | Keyboards Andy Newmark | Drums Gary Tibbs | Bass Neil Hubbard | Guitar Paul Carrack | Keyboards • Always more videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe NachosVideos.com Facebook.com/TheNachoVideos YouTube.com/NachoVideo DailyMotion.com/NachosVideos Instagram.com/NachoVideo Twitter.com/NachosVideos Patreon.com/NachosVideos TheNachoVideos@gmail.com I edit, therefore I am #RoxyMusic #LoveIsTheDrug #FleshandBlood

Mick Rock’s iconic promo video for Bowie’s Life On Mars, seen here for the first time in its “Unbleached” original form, remastered at HD and synced to the unedited version of Life On Mars, that restores the original unfaded ending. • Life On Mars was originally released, 50 years ago today, on the 17th of December 1971, a track on David Bowie’s “Hunky Dory” album. Eighteen months later, in June 1973, Life On Mars was released as a single in the UK. It was the height of Ziggy-mania, and the single peaked at number three on the UK Singles Chart and stayed on the chart for thirteen weeks. To accompany the ‘73 single release, a video was made, filmed and directed by Mick Rock. It was shot at the Blandford West Ten Studio in Ladbroke Grove, West London, on 13 June 1973. The video features a heavily made up Bowie, resplendent in a turquoise Freddi Buretti suit, juxtaposed against a stark white background. These gleaming almost surreally beautific images were punctuated by raucous crowd scenes, shot by Mick Rock at a Bowie gig. Just as Duffy’s Aladdin Sane cover art is the definitive image of Bowie in the Ziggy era, Mick Rock’s Life On Mars promo went on to become the defining Ziggy video imagery. And surely the Life On Mars promo must be considered one of the most iconic music videos of all-time. At some point over the years, a deliberately overexposed version of the promo, which bleached out much of the detail and colour, and redacted the crowd scenes, came to be the predominate version. That version is now considered to be the “official” Life On Mars video, and is widely available to view. Whereas the original “unbleached” version, is virtually impossible to see these days, in good quality at least. As far as I know, it has never been online in HD. So this is Mick Rock’s original Life On Mars promo in all of its glory, cleaned up and remastered in high quality. Also, the video is synced to a high quality audio, that additionally contains the original unedited, unfaded longer ending, that features at the end the voice of a frustrated Mick Ronson, cursing about the ringing telephone which he thinks has spoiled their recording session. To fill the additional running time, outtakes from the Life On Mars video shoot have been used. • Like many of us, I was shocked and saddened by news of the recent death of legendary rock n’ roll photographer Mick Rock. I highly recommend the 2016 documentary about the man, “SHOT! The Psycho-Spiritual Mantra of Rock”. It is a highly enjoyable and compelling insight and a righteous tribute. I have been tinkering around with this Life On Mars remaster for several years. I was wondering what to do with it, reticent to upload it partly in fear of irritating Mick Rock. But now, since Mick has just passed, and the 50th anniversary of Hunky Dory is upon us, it feels like the right, time to put the work out there. Out of respect for this iconic work of art, no attempt has been made to alter the original editing in any way, even for apparent errors in the original edit. Also, I didn’t reframe the video, so the rounded corners of the frames remain visible. And, I haven’t added generalised artificial de-grain, de-noise, sharpening effects or colour enhancement to the original image quality. Enhancements were done frame by frame, mostly consisting of fixing or removing the worst of the various flaws in the print such as scratches, hairs, stains, slipped or rolling frames, etc. Each frame contains so many flaws, to completely clean up the entire video would be incredibly time consuming. And so only the most distracting flaws were tackled, which was already a sizeable task. Thanks for watching, hope you dig it! • Credits Video Source: David Bowie • Life On Mars • Original 1973 Promo Video • Shot at Earls Court, London • 12 May 1973 • Directed by Mick Rock • Remastered by Nacho • 2021 Audio Source: David Bowie • Life On Mars • Unedited Version • Recorded at Trident Studios, London • 6 August 1971 • Produced by David Bowie & Ken Scott Musicians: David Bowie • vocals Mick Ronson • guitars, recorders, string arrangement Trevor Bolder • bass guitar Woody Woodmansey • drums Rick Wakeman • piano Unknown musicians • violins, violas, celli, string basses • Always more videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe NachosVideos.com Nacho's Videos YouTube.com/NachoVideo DailyMotion.com/NachosVideos OK.ru/nachovideo Instagram.com/NachoVideo Twitter.com/NachosVideos TheNachoVideos@gmail.com I edit, therefore I am #DavidBowie #LifeOnMars #HunkyDory #MickRock #KenScott #MickRonson