Then-Bunnymen lighting engineer Bill Butt’s hectic little Bunnymen-on-tour road-movie, mostly shot from the back of Bunnymen graphic designer, Martyn Atkins motorbike, traveling from England to Florence, Italy via France and Switzerland, with a soundtrack by Bunnymen guitarist Will Sergeant. La Via Luonge was first screened in the U.K. 40 years ago, in August and September 1981 • Two silhouetted figures mount a BMW motorcycle in an English suburban street. Will Sargeant’s twitchy lo-fi drum machine, keyboard and guitar psychedelia starts up and we are off. Sargeant’s insistent beats are a perfect match for the juddering and increasingly sped-up back-of-a-motorcycle ride through Southern England, across the English channel by ferry (with a quick A Promise diversion) through France, Switzerland and Italy. The destination is Florence - Piazza delgi Uffizi, 29 June 1981 - the final date of the first leg of the Bunnymen’s Heaven Up Here tour that had begun three months prior in early April. As the film nears its finale, we see the preparations for the show in Uffizi Square, and scenes of the bands performance used to good effect with an excerpt from Heaven Up Here title track. Les Pattinson (2000): I think one of the best (shows) was in the early days playing the Uffizi Square in Florence, Italy. It was sponsored by the local Communist Party, but for some reason we got to play. It was mad - you would have these original Michelangelo statues about 20 feet away from you on stage; you couldn't build a better stage set. Back stage would be the river. Bill Butt (2021): I shot the Super 8 footage from the back of Martyn's BMW. Martyn and I rode from the "Palace", Bristol to Naples. I also shot some footage on the tour bus, and of the fantastic gig in the Uffizi Square in Florence, Italy. The idea was to film the gig in a football stadium in Naples but the organisers, who again were the local Communist Party forgot to provide any power to the stage, eventually a 50 meter long 13 amp extension cable was produced. Neither the organisers or the crowd understood that it was impossible to perform without proper power so we had to blow the gig. The crowd were pissed off and pelted the tourbus and the bike with stones which is the closing shot of the film, shot from the safety of the tour bus!!! We took turns in driving and to my shame I dropped the bike on a tight corner when crossing the Swiss Alps, Martyn and I slid down the road joined by our walkman headphone cables. Not too much damage, only cracked ribs, and bent handlebars, so we were able to continue on our mission. • La Via Luonge was originally screened at London's ICA and other venues around the U.K. in 1981, along with John Smith’s Bunnymen short film Shine So Hard. Later it was included on the 1982 home video release of Shine So Hard. It is from a superior transfer of the Shine So Hard video that this restoration originates. I fixed or edited out the worst of the spoiled and distracting frames, and put the result through various processes to try to improve the quality, but there is only so much one can do with a 40-year old domestic VHS cassette tape as a source. However, as stated on my recent upload of Bill Butt’s 1981 Simple Stuff promo - if like me, you are a big fan of the band during the era, this glimpse into the Heaven Up Here tour is special. The audio is a mix of sections from Will Sargeant’s belated 2003 CD release Weird As Fish/Le Via Luonge, the original audio from the video tape transfer, and two excerpts from the remastered Heaven Up Here CD. Sargeant’s La Via Luounge CD contains a different mix to the video tape. In some places it is very different, and so for authenticity, here and there I mixed back in a re-EQ’d and fake-stereo’d version of the original soundtrack. Thanks for watching, hope you dig it! • See also: nachosvideos.com/shine-so-hard • Credits Video: La Via Luonge • Directed by Bill Butt • 1981 • Shot in June 1981 during the Echo & the Bunnymen Heaven Up Here tour • From the Shine So Hard / La Vie Luonge VHS home video • 1982 Audio: Will Sargeant • La Via Luonge • Original soundtrack • 1981 • Weird As Fish/Le Via Luonge • Ochre • 2003 Echo & the Bunnymen • Excerpts of A Promise & Heaven Up Here • Heaven Up Here • Korova • 1981 Musicians: Vocals, Guitar • Ian McCulloch Lead Guitar • Will Sergeant Bass • Les Pattinson Drums • Pete de Freitas Production • Hugh Jones • 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 #Echo&theBunnymen #LaViaLuonge #BillButt #HeavenUpHere #PiazzadelgiUffizi #Firenze

This video is a new edit of archive footage of New Order, recut and synced to their song “Procession”, which was originally released forty years ago this month, September 1981. • The future is already here; it’s just not evenly distributed - William Gibson In early 1981 New Order released their magnificent debut single, Ceremony. Ceremony, and it’s B-side In a Lonely Place, were re-recorded versions of songs written and recorded as Joy Division just prior to the death of the band’s singer Ian Curtis. The sound of that first single was very Joy Divisionesque, with guitarist Bernard Sumner doing a fine job of sounding Ian Curtisesque. My video for Ceremony: https://youtu.be/VXLTVvuAfso If New Order’s first single was a blast from the immediate past, their second one was a blueprint for the future. A-side Procession was upbeat melodic guitar and synth alternative pop and on the flip Everything’s Gone Green was the first of New Order’s more disco-orientated sequencer-driven tunes. Both songs were precursors to much that followed in the Eighties by New Order and indeed by many other artists. Back then, Procession certainly sounded like the future to my young ears. And unless my deep abiding love for Procession is biasing me, it hasn’t really dated much, and subsequent generations of new artists still sounding like early New Order to me. • In former New Order bassist Peter Hook's memoir Substance: Inside New Order, he states that the chief composer of "Procession" is New Order drummer Stephen Morris. Tho’ like all New Order songs, it is credited as group composition. A very early version of Procession, from the footage shot by Merrill Aldighieri at Hurrah’s in September 1980, is sung (rather poorly) by Stephen Morris. Recording details of Procession are not known to me. However, it’s likely that it was recorded at Strawberry Studios in Stockport, part of the intermittent 7-months of recording sessions that formed the debut album Movement. Wiki: The producer (of the sessions) was once again Martin Hannett, who had worked with them as Joy Division; however, the rapport between producer and band had in the ensuing time eroded. Hannett was in a legal dispute with Factory Records and suffering from substance and alcohol abuse, and the band members—themselves still coming to terms with having to write and arrange songs without Curtis's ear and lyric-writing ability—found him uncooperative. It would be the last time they worked together. The band were unhappy with Hannett’s production of the album. However, it seems to me that both Procession and Everything’s Gone Green benefit hugely from Hannett’s production – including his trademark crisp snare sound and mastery of subtle electronic atmospheres. • New Order didn’t make many promo videos in the Eighties, and none at all until the 1983 video for Confusion (in which the band barely appeared). As is my wont, I decided to fill that void and create a promo video for Procession. I utilized three sources from the era: two TV shows - Riverside from January 1982 and Granada Studios from April 1981, and a little of the live footage shot at Hurrah’s in NY in September 1980. The lasers from the Riverside footage work well with the long synth notes, I think. I was inspired to put this video up this week, by the imminent live return of New Order at Heaton Park, Manchester this Friday. After everything that’s happened in the last two years, I can imagine that seeing New Order play their hometown will be an incredible experience. A couple of dear friends of mine will be attending, and if I were in the UK, I would certainly be joining them. I saw the band about 5 years ago here in HK, after at least a 20-year absence, and I thoroughly enjoyed them. Plus, New Order’s 2020 single Be a Rebel was one of my favorite songs from last year, the best record they never made in 1987. Anyway, here’s my video for Procession, I hope you dig it! • Credits Video Source: New Order BBC Riverside, 4th January 1982 Granada Studios, 23 April 1981 Hurrah’s, NY • 27th September, 1980 • Produced, directed and filmed by Merrill Aldighieri From New Order • Movement Box Set • 2019 Audio Source: New Order • Procession • Recorded in 1981 • Originally released 25th September 1981 • FAC53 Musicians: Bernard Sumner • Vocals, guitar Peter Hook • Bass Stephen Morris • Drums Gillian Gilbert • Keyboards Martin Hannett • Production © 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 #Procession #Factory53 #MartinHannett

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

David Bowie • Station to Station • Live 1976 • The video I edited in 2016, combining Phillipe Bergeron’s 1976 Montreal Forum footage, cut to Station to Station from the Live Nassau Coliseum '76 album. • The David Bowie Isolar – 1976 Tour Every night before the band took the stage, there was a screening of “Un Chien Andalou”, the 1929 silent surrealist short film. Then the movie screen would go up, and Stacy Heydon's intense guitar howls would fill the hall. “It all became real when I sat on the stage watching them all file into the venue. We'd sound checked at 3ish and Buford Jones had the house audio dialed in. We were confident and well-rehearsed. It was this 21-year-old’s second time performing in front of tens of thousands of people and I could barely wait for the Dali film to end, and for me to fire up the Marshalls and get the show started with my feedback/intro to Station to Station. For the first minute or so, standing there solo doin’ my thang, my knees would have been shaking…” - Stacy Heydon The Footage I first came across the footage that Phillipe Bergeron shot himself 40 years ago, via the 60 seconds that he had posted, on January the 11th 2016, the day that the world heard David Bowie had died. At that time I had been scouring the web for material to flesh out a TVC 15 live ’76 video I was working on. There is virtually no decent footage available from the ’76 tour. A few minutes of fragments from three songs was shown on French TV. According to legend, the TV station shot five songs at the final Paris show. But the reels were misplaced when the TV station moved their archive, and unfortunately remain lost. Philippe’s one minute of footage was only Super 8, but it was very well shot, and unlike anything I’d seen before. I immediately contacted him, basically asking, “Is there more than 60 seconds, and can I have it please?” Eventually, we talked on the phone a bit, and Philippe agreed to let me have his footage for my use. What came exceeded all expectations. It was beautiful material - close ups, long shots, pans and zooms from at least 5 totally different locations in the venue. And, unusually, plenty of band shots. The footage astonished me and I could hardly believe what I was seeing. However, the reel was silent, and moreover, there was no complete song, or even lengthy take. Just very short scenes, mostly less than 10 seconds, sometimes only 2 or 3 seconds, evidently filmed throughout the entire show. The detective work began to ascertain what songs were being performed to decide out what the best use of the footage would be. Breaking the reel down into its separate components meant I had over 50 mini scenes. Among the fragments of other songs I did eventually identify, there was – crucially - several verifiable short sections of Station To Station. Although these fragments only totaled less than a minute, an idea began to predominate - re-purpose the entire footage, use every scene, avoid dipping into any other source, and synch it to the Nassau live version of Station to Station. To cut a very long story short, I managed to utilize almost every second of Philippe’s footage. Where I used a verified Station To Station scene, in its correct place, I have left it naked. In other places, the long cross fades, the superimposing, and other effects, are devices to distract us from noticing that Bowie is not in fact singing the correct line, or indeed even the correct song. I don’t know how many millions of digital manipulations I made to produce this thing, but certainly more could be done to improve it. There are some compromises in this video that I am not content with, but after in excess of 200 hours of obsessive and often frustrating work, including stretches of profound desperation when there were many minutes of blank void to fill, and no material or imagination to fill them, I’ve decided that this will have to do. So, after forty years, finally here is… The return of the thin white duke. Thanks for watching, hope you dig it! • Video Source: Super 8 footage of David Bowie at The Montreal Forum, Canada • 25 February 1976 • Footage shot by Phillipe Bergeron Audio Source: David Bowie • Station to Station • Live Nassau Coliseum • 23 March 1976 • from the album Live Nassau Coliseum '76 Musicians: David Bowie • Vocals Stacey Heydon • Guitar Dennis Davis • Drums Carlos Alomar • Guitar George Murray • Bass Tony Kaye • Keyboards Harry Maslin • 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 OK.ru/nachovideo Instagram.com/NachoVideo Twitter.com/NachosVideos TheNachoVideos@gmail.com I edit, therefore I am #DavidBowie #StationToStation #TheDAMTrio #Isolar

The Stooges • 1970 (I Feel Alright) • Live at the Goose Lake Festival • 8 August 1970 • It is 50 years this weekend since the Goose Lake Music Festival took place, on the 7 – 9 August, 1970. This video is a new edit of archive footage of The Stooges performing 1970 (I Feel Alright) at the Goose Lake Music Festival, cut to the recently resurfaced soundboard recording of their show, released today by Third Man Records as the album, The Stooges - Live at Goose Lake: August 8th 1970. • The Goose Lake Music Festival, was held in Leoni Township, Michigan. It was one of the largest music events of the era, and featured many of the top rock bands of the day. The festival was considered to be the Midwest answer to the Woodstock Festival. It was projected that 60,000 fans would attend the first festival. However, attendance massively exceeded that number, and is estimated to have been around 200,000. • “The Goose Lake tapes were languishing in the confines of a 170-year-old house in Wyoming, Michigan. The Rogers Mansion, as it's known. Come 2015 the family (who'd held continuous ownership of the house since it was built) decided to finally sell and in the process had to remove generations of family crap that had piled up. “Joshua Rogers spotted the tapes that were recorded by his dad, James Cassily, who was a sound engineer in Michigan going back to the late '60s. James passed away in 2005, so we don't really know WHY he was recording the show. He'd done a lot of work with Teegarden & Van Winkel, who emceed the festival, but as far as we can surmise, he wasn't doing front-of-house for any of the bands and he wasn't recording as part of the film crew...as the audio on the rough cut of the documentary doesn't seem to match up either fidelity-wise or even input wise...” - From an interview with “Live at Goose Lake: August 8th 1970” album producer, Ben Blackwell. Link below. • Links The complete story behind the tapes and Jim Cassily, who made them: http://gloriousnoise.com/2020/the-true-story-of-the-stooges-at-goose-lake-tapes https://www.detroitnews.com/story/entertainment/2020/08/07/unearthed-goose-lake-recordings-debunk-iggy-pop-and-stooges-lore/3304610001/ Interview with Ben Blackwell, producer of the album - The Stooges Live at Goose Lake: August 8th 1970 : https://www.i94bar.com/interviews/goose-lake 30-minute documentary about the festival "True Story: Goose Lake Festival” : https://jtv.tv/true-story-goose-lake-festival/ The full Goose Lake Music Festival movie can be found here : https://www.youtube.com/watch?v=o7RFG000QGo&t=3348s New interview with Iggy Pop about the Goose Lake Festival : https://www.theoaklandpress.com/entertainment/iggy-pop-on-the-stooges-historic-chaotic-goose-lake-festival-performance/article_1d83db78-d1bb-11ea-8e5f-235c27d4545c.html • Third Man Records, “Live at Goose Lake: August 8th 1970”, is the first soundboard quality Stooges live recording from the 70’s ever released. Similarly, there’s never been a decent Stooges video from the 70’s of a complete song. As soon as I heard about the release of the new album a few months ago, I started to plan this video. Without the audio to work from, I couldn’t do much except gather sources of the footage, and try to clean them up a bit. When I woke up this morning, I quickly checked iTunes, and sure enough the album was out. I downloaded a copy, and started work almost immediately. I stopped only for meals. Now it's after 3am, and I'm done. This video is rough, but it rocks, and for now at least, it's all we've got. Hope you dig it! • Credits Video Source: Goose Lake International Music Festival August 7-9, 1970 • Directors Image 1992 Music Source: The Stooges • Live at Goose Lake: August 8th 1970 • Recorded by Jim Cassily • Produced by Ben Blackwell • ℗ 1970 Joshua C. Rogers for the Estate of James F. Cassily. All rights reserved • © ℗ 2020 Third Man Records Musicians Iggy Pop • vocals Ron Asheton • guitar Dave Alexander • bass guitar Scott Asheton • drums Steve Mackay • saxophone • 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 #The Stooges #GooseLakeFestival #IggyPop #ThirdManRecords #1970

You are watching the official remastered HD video for of ‘Ghost Town’ by The Specials. A timeless classic, which originally reached the UK number on in June 1981. This video was directed by acclaimed designer Barny Bubbles with the band driving around the City and East of London in a 1961 Vauxhall Cresta. The video was remastered by Nacho Pre-order the 40th Anniversary Half-Speed Master of ‘Ghost Town’ by The Specials – https://thespecials.lnk.to/GhostTown40th​ Follow The Specials: Subscribe: https://TheSpecials.lnk.to/Subscribe​ Music Online: https://TheSpecials.lnk.to/Listen​ Facebook: https://TheSpecials.lnk.to/FB​ Instagram: https://TheSpecials.lnk.to/IN​ Twitter: TheSpecials.lnk.to/TW Website: https://TheSpecials.lnk.to/Web​ Follow 2 Tone: Subscribe - https://chrys.lnk.to/Subscribe Spotify - https://2tone.lnk.to/Twotoneplaylist Facebook - https://2Tone.lnk.to/Facebook Twitter - https://2Tone.lnk.to/Twitter Instagram - https://2Tone.lnk.to/Instagram Website - https://2Tone.lnk.to/Store Lyrics: This town (town) is coming like a ghost town All the clubs have been closed down This place (town) is coming like a ghost town Bands won't play no more Too much fighting on the dance floor Do you remember the good old days before the ghost town? We danced and sang as the music played in any boomtown This town (town) is coming like a ghost town Why must the youth fight against themselves? Government leaving the youth on the shelf This place (town) is coming like a ghost town No job to be found in this country Can't go on no more The people getting angry This town is coming like a ghost town This town is coming like a ghost town This town is coming like a ghost town This town is coming like a ghost town

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 the mighty Hey Hey, My My (Into The Black) from the Rust Never Sleeps album, synced to the concert footage from the Rust Never Sleeps movie. Actually, it’s the same version / recording of the song in the movie, but the Rust Never Sleeps album version was overdubbed in the studio, including the addition of the massive treated snare drum sound. I heard Hey Hey, My My on the Nicky Horne Show, on Capital Radio in 1979. The massive dirty guitar riff, the thunderous treated drum sound, the enigmatic and yet obviously cynical post-rock and roll and apparently self-reverential lyrics, and that high and lonesome voice. It was winner, and I immediately went out and bought the 7” single. But that’s where it stopped for Neil Young and me, for almost a decade. But in 1987 I got a freebie ticket from WEA for Neil Young and Crazy Horse at Wembley Arena. I wasn’t that keen to go, but there was an ulterior motif - if memory serves it was rumored that my hero Thurston Moore of Sonic Youth would be at the aftershow. So anyway, against my better judgment there I was at the vast Wembley Arena with my mate Stewart who was a NY fan. We had good seats and so the show began. Do you already know how this story ends? Later I found out that the set list was pretty much Live Rust and I was just completely stunned by the performance. The set closed with an incendiary Hey Hey, My My (Into The Black). Young, in the biography ‘Shakey,’ states that the enduring legacy of the ‘Rust Never Sleeps' album and tour was simply that, “After 'Rust,' no one ever asked me why I played with Crazy Horse.” Yes indeed. After the show I remember babbling to Stewart about how amazing the thing we had just witnessed was. That fuckin’ incredible song “Cortez, Cortez”, I gushed. You mean, “Cortez The Killer”, Stewart corrected me, with justifiable Told You So satisfaction. And thus began my love affair with Neil Young. So, forty years on from the original release date, 22 June 1979, here’s the promo that Warners should have made for Hey Hey, My My back in the day… Hope you dig it! • Audio: Neil Young and Crazy Horse • Hey Hey, My My (Into The Black) 2016 Remaster • Recorded October 22, 1978, The Cow Palace, Daly City, California • Overdubbing, post production 1979 • From the album Rust Never Sleeps • Released 22 June 1979 Video: Rust Never Sleeps movie • Directed by Neil Young • Released 15 August 1979 Musicians:
 Neil Young • vocals, guitar Frank "Poncho" Sampedro • guitar, backing vocals Billy Talbot • bass, backing vocals Ralph Molina • drums, backing vocals Production • Neil Young, David Briggs, Tim Mulligan Recorded • David Hewitt on Record Plant New York Black Truck • 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 Facebook.com/TheNachoVideos YouTube.com/nachomarcho Vimeo.com/NachosProductions #NeilYoung #CrazyHorse #RustNeverSleeps

Bankrobber by The Clash was released as a single in the U.K. 40 years ago on this day, the 8th of August 1980. This video is a newly cleaned-up and re-edited version of the original Don Lett’s-directed promo for Bankrobber. • The Clash commenced the new decade with their 16 Tons Tour. It was to be the band’s biggest tour yet - 74 dates over the first six months of 1980. The band was riding high on the critical and commercial success of the London Calling album that had been released a month earlier. During the Manchester Apollo dates, February 3rd and 4th, The Clash spent two days working on new material at the city's Pluto recording studios. Joining the band in the studio on production duty was Jamaican DJ, singer and producer Mikey Dread. The Clash had invited Dread over to England to tour with them. The result of the recording session was a new song, Bankrobber. Bankrobber had debuted in December the previous year – a modern day folk mythology tale of harmless villainy. Like the previous year’s Armagideon Time, Bankrobber was to be another foray into the realms of Reggae and Dub. Several mixes / versions of the track were produced, including “Rockers Galore… UK Tour”. This mix absents Strummer’s vocal, and in its place has Mikey Dread ‘Toasting’ about this merging of Jamaican Reggae and U.K. Punk, and is his chronicle of being on tour with The Clash: Cos this is Reggae and this is Rockers and this is Punk Call it what you want… An jammin' with The Clash on a UK tour A this a little one is this a "Rockers Galore" See faces and a faces I'm a never seen before The Clash wanted to release Bankrobber immediately, and were planning to subsequently release a steady stream of singles throughout the year. However, the plan faltered at the first hurdle when CBS UK refused to release Bankrobber, apparently claiming that the it sounded like 'David Bowie backwards'. To retaliate, the band refused to release any other new material until the decision about Bankrobber was overturned. In the meantime they began amassing material for what would eventually be the sprawling triple album “Sandinista!”, released in December 1980. In June, CBS Holland released the Bankrobber single, and copies flooded into U.K. stores, selling very well. Eventually CBS U.K. relented, and the single was finally released on August the 8th, reaching Number 11 in the charts. Bankrobber was not included on Sandinista! Instead it appeared on the compilation album Black Market Clash which was released two months prior to the release of Sandinista! in October 1980. • The Bankrobber promo video was directed by British film director, DJ and musician, Don Letts. Letts had already directed several Clash music videos, as far back as White Riot in 1977 and as recently as London Calling, in late ‘79. Later, in 1984, Letts co-founded the band Big Audio Dynamite with Clash guitarist Mick Jones. Later still, in 1990 Letts directed the documentary, The Clash: Westway to the World. The Bankrobber video features footage of the band with Mikey Dread during the Bankrobber recording sessions, at Pluto Studios in Manchester. In addition, a secondary narrative features two masked robbers (Clash roadies Johnny Green and Barry “Baker” Glare) holding up a bank in Lewisham, South London. During the filming, despite Baker and Green being dressed in obvious comedy villain bandanas, waving swag bags around, Baker and Green were stopped and questioned by the police, who thought they were genuine robbers. • As I’ve written before, the video legacy of The Clash, like many other great artists, is not being given proper love & respect. Old fans, new fans and musical historians alike rely on the videos in circulation to remember, understand & enjoy facets of an artist, that listening to the music alone cannot provide. Leading the pushback against the seeming indifference of many artists / their estates / management / labels etc. is Neil Young, with his magnificent & ever expanding online treasure trove, Neil Young Archives. Meanwhile the material online of many other important artists is in appalling quality. Or worse; festering in an archive unseen and sometimes even undigitized from the original celluloid, and therefore deteriorating year by year. The Clash are a case in point. The “official” sources [Clash YouTube channel, Essential Clash DVD, iTunes store downloads etc.] of their iconic promo videos are a mess. The various versions available of the Bankrobber promo are in low definition, and obviously not mastered from first generation sources. They are not running at the correct speed, and the audio quality is poor, presumably from the original 40-year old soundtrack. So something had to be done. I’ve cleaned up the footage as best as I could, and dubbed in the excellent 2013 Sound System Box Set remaster of Bankrobber. And I took some liberties. I don’t like the way the original video just fades in, omitting the first ten seconds or so of the track. So I’ve created what I imagine could be the missing beginning. I also created a new ending to the video and even to the song. The standard version of Bankrobber ends with a fade out. Instead I’ve mixed in the end of Bankrobber Dub, which is the same rhythm track, but runs a little longer and has a defined ending. Basically, I did this to accommodate the scene of Green and Baker moving the red Clash flight case, which was left over from my refashioning of the start of the video. Hope you dig it! • Credits Video Source: The Clash • Bankrobber • Original promo video • Directed by Donn Letts • Shot in Manchester and London, 1980 Music Source: The Clash • Bankrobber • 2013 Sound System Remaster • Robber Dub • Recorded at Pluto Studios, Manchester • February 1980 • Released August 8th, 1980 Musicians Joe Strummer • Lead vocals, rhythm guitar Mick Jones • Lead guitar, backing vocals Paul Simonon • Bass, backing vocals Topper Headon • Drums Mick Gallagher • ARP synthesizer, piano Mikey Dread • backing vocal, 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 TheNachoVideos@gmail.com I edit, therefore I am #TheClash #Bankrobber #DonLetts # MikeyDread #1980

Roxy Music • Both Ends Burning • Live at Wembley 1975 Audio: Roxy Music • Both Ends Burning live at Wembley Empire Pool • London, UK • October 18th 1975. From the 1976 album Viva! Roxy Music, and live at Wembley soundboard. Musicians: Bryan Ferry – Vocals Paul Thompson – Drums Phil Manzanera – Guitars Andy Mackay – Saxophone Edie Jobson – Keyboards John Gustafson – Bass Jacquie Sullivan – Vocals Doreen Chanter – Vocals Video: October 17th, 18th 1975 • Wembley Empire Pool • London, UK. From the official Both Ends Burning video. Unconfirmed 1975 show, from All You Need is Love episode 15, US TV 1977. January 27th 1976 • Konserthuset • Stockholm, Sweden Roxy’s Siren album was released on October 31st, 1975. The Siren tour commenced on October 2nd 1975 and ran through Europe, the US until late March 1976. Andy MacKay: “(In the States) we played mainly theatres which suited us. In the U.K. we were playing arenas, but the audience were great in both”. On many of the early dates of the tour, including all the UK dates, the audience had not heard the new material. Despite that, Roxy played most of the tracks from the new album, even starting the set with Sentimental Fool, from Siren. In a review in the Melody Maker of the Liverpool show, 3rd October, Barbara Drillsma described new song, Both Ends Burning as ”a real classic rocker”. The version of Both Ends Burning from Viva! certainly lives up to that epithet. Andy MacKay: Toward the end of recording (of Siren) we were compromised as we had been on Stranded and other albums by Bryan not having finished lyrics so that tracks got overworked as instrumentals while we were working as it were in the dark. ‘Both Ends Burning’ is a case in point. It has always been better live...” There’s been some doubt which show the Viva! recording is from. But comparing the soundboard from the second night at Wembley, October 18th, to the version on Viva!, it’s obviously the same recording. Some alterations have been made to the Viva! version – it’s about 30 seconds shorter, having had some of the “Keep on Burning ‘till the end” lines omitted. And there’s been considerable overdubbing of Andy MacKay’s saxophone, which although it is almost inaudible on the soundboard, is clearly different playing. Richard Adams writes about Viva! and the Wembley show on his blog: “Phil Manzanera… assembled the songs and added some judicious instrumental overdubs - bits of Andy's sax playing here and there when mics hadn't picked everything up, some of his own guitar playing, tidying up wayward notes. Not much was needed as Roxy live was a well honed machine”. In the Sounds review of the Glasgow show, 18th October, John Inghan wrote: “Ferry looking like an AWOL GI”. On the Siren tour Ferry had introduced a new aesthetic. He wore a khaki military style uniform throughout, apparently inspired by Elvis Presley’s uniform in the movie, “GI Blues”. Looking at shots of Presley in the movie, it seems almost certain that is so. Even down to the detail of the military emblem on the left shoulder of Presley’s uniform - in the same place on Ferry’s uniform, there’s an emblem, ‘tho of course it says, “Roxy Music”. Also new on the Siren tour was the addition of uniformed backing singers – the John Ingham review again: “…singers Doreen Chanter and Maggie Sullivan showed real class with powder blue WRAF uniforms”. In Barbara Drillsma’s Melody Maker review of the Liverpool show, she also mentioned “The Sirens”: “Roxy were helped along by two attractive young ladies Lorraine and Doreen - dressed in tight-fitting airforce outfits”. It’s been a while now, that I’ve been wanting to untypecast myself from the strictly 70’s-Bowie-videos mantle. I’ve loved the first phase of Roxy Music since I was a kid, and of course there is so much common ground between Roxy and Bowie, so it seemed like a good place to start. I’m no expert on Roxy however, so I asked my Bowie / Roxy buddy Carla for some input. Carla had some great suggestions for Roxy videos, and Both Ends Burning was one of them. I checked out the official Both Ends Burning video, and frankly, I thought it was a mess! The official video is of footage from one of the Wembley shows, almost randomly synced to an edit of the studio version. Having a big love for the Viva! album, and a long standing to wish to see videos of those performances, I saw a video crying out to be made! However, the material in the short official video was inadequate for my purposes, so I leaned into a couple of other sources, as stated. As always with these type of projects, there was a lot of difficulties, and I’ve had to accept a lot compromises. Anyway, here’s my first Roxy Music video, hopefully the first of many videos I’ll be uploading by favorite artists from the archives. Hope ya 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

Joni Mitchell • Help Me • The New Victoria Theatre, London • 22 April 1974 Compiled from multiple sources, this is a newly cleaned up and synced version, of one of the highlights from the 1974 BBC TV broadcast of Joni Mitchell live at the New Victoria Theater, in London. • Posting on the occasion of Joni Mitchell’s 76th birthday, November the 7th, 2019. "Mind if I turn on the radio?" "Oh, my favorite song" she said And it was Joni singing "Help me I think I'm falling" Prince “The Ballad of Dorothy Parker”, from his brilliant 1987 album "Sign O' the Times. • Help Me was originally from Joni Mitchell’s 1974 album, Court and Spark. The album was her great leap forward, taking onboard new musical complexities, but still retaining her lyrical staple of beautifully articulated anxiety, inadequacy and insecurity - shame, guilt, loneliness, depression, heartbreak among them. The 1974 live album Miles of Aisles, featured only one track from Court and Spark. That fact alone, makes the New Victoria Theater material very valuable, featuring as it does, most of the songs from Court and Spark. It’s likely the original Whistle Test TV broadcast in May ’74 was just a couple of tracks. Then later in the year, an entire 40-minute episode was given over to 9 songs from the show. Softly-spoken hippie-muso presenter of The Whistle Test, “Whispering” Bob Harris, introduced the performance with considerable enthusiasm, “I honestly think she’s almost faultless; a sensitive, imaginative and graceful performer…’ It seems the BBC shot the entire show, and 80 minutes has been collated, mostly in quite low quality: https://www.youtube.com/watch?v=pvZ3j... ‘74 to ’76; Court and Spark and it’s majestic follow-up, Hissing of Summer Lawns, is peak-Joni for me. Yet, if you search on the web for any footage from the era, you will find almost nothing, except the New Victoria Theater material, in mostly poor quality. That the entire show isn’t available to us in HD, is a very serious crime against art. It always frustrates me to think of how much great material from the last 50 years or so, is just pointlessly and uselessly sitting gathering dust in an archive somewhere. Anyway, here at least is one of the highlights from Joni’s magnificent New Victoria Theater show, in reasonable picture quality and pretty great sound. At the end of the November ‘74 ‘Whistle Test broadcast, Bob Harris comes into view gently nodding in appreciation, and he softly pronounces, “Well, that was great”. Hope you dig it! Credits Audio and Video Source: Joni Mitchell • Help Me • The New Victoria Theatre, London • 22 April 1974 • • The Old Grey Whistle Test • A BBC TV Production • Broadcast 19 November 1974 Musicians: Joni Mitchell • Vocals, Guitar Tom Scott • Woodwinds, Reeds Max Bennett • Bass John Guerin • Drums Roger Kellaway • Piano Robben Ford • 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 Facebook.com/TheNachoVideos YouTube.com/nachomarcho Vimeo.com/NachosProductions #JoniMitchell #CourtandSpark #TomScott #LAExpress #MilesofAisles

Echo and the Bunnymen • Shine So Hard • Directed by John Smith • 1981 • Nacho Restoration • “Shine So Hard” is an abstract and fragmentary short film made in 1981, featuring Echo & the Bunnymen. It was directed by John Smith and produced by Bill Butt. This newly remastered version of "Shine So Hard", is being made available online for the first time today, on the anniversary of the film’s premier at London’s ICA, 13th of August 1981. • By mid-December 1980, Echo and the Bunnymen had concluded the tour promoting their debut album “Crocodiles”. There was to be a lull in live shows until April the following year, while the band rehearsed and recorded material for what would become their second album, “Heaven Up Here”. However, Bill Drummond, the Bunnymen's manager, hatched a plan for a one-off gig on 17th January 1981. It was to be a special event, a mystery show. The "secret" location was stated as “Gomorrah”. But the venue was, in fact, the Victorian concert hall at the Pavilion Gardens in Buxton, a quiet spa town in Derbyshire’s picturesque Peak District. The event was to be used as the basis for a short promotional film commissioned by the band’s label, Warner Brothers. “Shine So Hard” documents the event, which was to be the final show of the Bunnymen’s apocalyptically staged “Camo Tour”. Dramatic back-lighting, a stage draped in camouflage netting, clouds of billowing smoke and the band all dressed in army surplus, produced what Ian Pye of the Melody Maker described as ‘A Coppola inspired vision of Armageddon’. The “Shine So Hard” film was released on the 13th of August 1981. It was screened at London’s ICA for two weeks, and elsewhere in the UK. The British Film Institute September 1981 Monthly Bulletin declared: ‘John Smith’s film matches conventional, excellently shot material of Echo and the Bunnymen live with footage that attempts to locate the band in a context of more abstract imagery. Smith deliberately and jokingly, allows the two sections to collide rather than attempt to blend them… a rather arty, anti-Last Waltz joke.’ In 1982, a limited edition of 500 home videos of “Shine So Hard” was released. Since then, if one wanted to see “Shine So Hard” in all of it’s glory, the only option was to attend one of it’s very rare cinema screenings. I myself had never seen the film except as frustratingly low-quality home video transfers. Ask and thou shall receive – I had recently posted a video I made for “Zimbo”, from poor quality “Shine So Hard” sources, and in the accompanying notes, I asked the Bunnyverse for a good-quality copy of the film. Shortly thereafter, an HD digital transfer of “Shine So Hard” came my way. Having waited for over 35 years, the film did not disappoint. The music and performances are of course brilliant. ”Shine So Hard” is also a very well shot, paced and edited piece of film-making, and the sound design is fantastic. In the poor video transfers, I hadn't noticed many of the small and enjoyable details. For instance, with this new digital version I realised for the first time, the book Pete de Freitas is reading, is Salinger’s “Catcher in the Rye”. • The picture quality of the "Shine So Hard" film transfer I received was generally very good. Nevertheless, I set out to improve a few issues. The primary one was to dub in the 2003 remastered versions of the songs from the “Crocodiles” album and the “Shine So Hard” EP. Matching correctly all the abrupt little snippets of “Monkeys” was quite challenging. Those early Bunnymen records, shows and the “Shine So Hard” film meant a lot to me in my youth. And so I am very pleased and proud to present John Smith and Bill Butt’s perfectly formed little masterpiece, polished and online for the first time, shining so hard. Hope you dig it! • An much expanded version of this text, and a wealth of accompanying photos is posted on www.facebook.com/TheNachoVideos • Director • John Smith Producer • Bill Butt Director of Photography • Patrick Duval Camera Operator • Mike Tomlinson Editor • Patrick Duval • John Smith Sound Recording • Peter Woods 2019 Restoration • Nacho Starring: Ian McCulloch Will Sergeant Pete de Frietas Les Pattinson Songs by Echo & the Bunnymen: 1. Monkeys 2. Stars Are Stars 3. Pride 4. Going Up 5. Over The Wall 6. All That Jazz 7. Crocodiles 8. Zimbo • Tracks 1 – 3 produced by The Chameleons • from the album Crocodiles • Released July 1980 • Tracks 4 – 8 recorded live 17 January 1981, by the Manor Mobile • Produced by Bill Drummond & Hugh Jones, mixed at Rockfield Studios in Monmouth, Wales date 16/17th February 1981 • Track 4 unreleased • Tracks 5 – 8 from the Shine So Hard EP, released 10th April 1981 • I don't own the rights, and I never monetise. 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 #EchoAndTheBunnymen #ShineSoHard #JohnSmith #BillButt

Kraftwerk • Köln II • Live on Okie Dokie • German TV • Köln, Germany • 1971 • This video is my newly restored version of this classic clip of Florian Schneider, Michael Rother and Klaus Dinger performing an unreleased track, live on German TV in 1971. • The trio appeared under the Kraftwerk moniker. But the music made by this short lived line-up probably seems to us now as very unrepresentative of what might be thought of as the Kraftwerk sound. At the time, the other mainstay of Kraftwerk, Ralf Hutter was on temporary sabbatical from the band for eight months, to focus on completing his university studies. Dinger had already appeared as drummer on the 1970 debut self-titled Kraftwerk album, and by ’71 was permanent drummer for Kraftwerk. They toured with what Dinger called "a floating line-up" of ever changing musicians. Settling at some point as a trio with Rother on guitar. With hindsight, it’s clear now that this is in fact the genesis of Rother and Dinger’s band Nue!, which they would go on to form a few months after this performance. When Hutter returned to Kraftwerk, the absence of a drummer would force them to pioneer the use of drum machines and electric percussion. • Most of us know the gist of the Kraftwerk story, so I’ll just quote from Wikipedia:“Kraftwerk (German: [ˈkʁaftvɛɐ̯k], lit. "power station") is a German band formed in Düsseldorf in 1970 by Ralf Hütter and Florian Schneider. Widely considered as innovators and pioneers of electronic music, they were among the first successful acts to popularize the genre. The group began as part of West Germany's experimental krautrock scene in the early 1970s before fully embracing electronic instrumentation, including synthesizers, drum machines, and vocoders. On commercially successful albums such as Autobahn (1974), Trans-Europe Express (1977), The Man-Machine (1978), and Computer World (1981), Kraftwerk developed a self-described "robot pop" style that combined electronic music with pop melodies, sparse arrangements, and repetitive rhythms, while adopting a stylized image including matching suits. Following the release of Electric Café (1986), Wolfgang Flür left the group in 1987, followed by percussionist Karl Bartos in 1990. Founding member Schneider left in 2008.” Neu! was also a German band. They were formed by Klaus Dinger and Michael Rother after their split from Kraftwerk in 1971. Dinger and Rother worked closely with producer and “non” (unofficial third) member Conny Plank. Together they created completely unique and ground-breaking music on three albums: Neu!, Neu! 2 and Neu! 75. Neu! had minimal commercial success during its existence, but is retrospectively considered one of the formative Krautrock bands and a significant influence on many artists including David Bowie, Brian Eno, Sex Pistols & PIL, Joy Division, Stereolab, Gary Numan, Ultravox, Simple Minds, Radiohead, Sonic Youth, Julian Cope. Neu! split for the first time in ‘73. Klaus Dinger then formed La Düsseldorf with his brother Thomas and Hans Lampe. And Michael Rother formed the band Harmonia with Cluster's Hans-Joachim Roedelius and Dieter Moebius. Neu! reformed in ’74, fulfilling an obligation to record another album. • Following on from my upload last week of the Neu! “Hero” video, here’s another one of the very few vintage clips in the Neu! story. Köln II remains to this day unreleased; it didn't make it on to the 1972 Kraftwerk 2 album, or the 1972 Nue! debut album. To my knowledge, the track only exists as this clip. On this restored version, sound and vision have been optimised. I’m grateful to producer Particledots, who helped uncover a wealth of previously hidden bass frequencies for us. Hope you dig it! • Credits Video and audio Source: Kraftwerk • Köln II • Live on the WDR TV show Okie Dokie • Köln , Germany • 1971• From Rockpalast Deutschrock-Nacht • WDR TV • Broadcast 6th August 2006 Musicians: Florian Schneider • Flute, electronics Michael Rother • Guitar, electronics Klaus Dinger • 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 ok.ru/nachovideo DailyMotion.com/NachosVideos Instagram.com/NachoVideo Twitter.com/NachosVideos TheNachoVideos@gmail.com I edit, therefore I am #Kraftwerk #Neu! #FlorianSchneider #KlausDinger #MichaelRother #1971

Bowie and the ’76 live band close to the start of the Station To Station Tour, perform a moving version of Five Years, for U.S. TV, on the 9th of February 1976. It is surely one of the finest TV performances of Bowie’s career. The performance was part of Bowie’s appearance on the popular daytime TV Dinah! Show. He also performed Stay, and was interviewed extensively and chatted with the other guests. The show was recorded at CBS Television City in Fairfax, Los Angeles, during the run of LA shows at The Forum. The show broadcast on 3rd of March 1976. Musicians:
 David Bowie • Vocals Carlos Alomar • Guitar Dennis Davis • Drums Tony Kaye • Keyboards George Murray • Bass Stacey Heydon • Guitar ~ Here’s an upgrade of this classic performance. I’ve been working on it for a while, using multiple sources, as per. Truth be told, it’s not really finished to my satisfaction and it’s a bit rough at the start. But bear with it, it improve a lot. I decided to upload it today, due to the grim news that the UK now has it’s own Pound Shop Donald Trump. God help us. So I thought it a suitable time to upload my work in progress, of this spectacular version of Bowie’s apocalyptic masterpiece. Plus there is a little humour at the end, to cheer us up. Hope you dig it! 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 Facebook.com/TheNachoVideos YouTube.com/nachomarcho Vimeo.com/NachosProductions #DavidBowie #FiveYears #StationToStation #ZiggyStardust #TheDAMTrio

The HD Projects is very proud to present the first in a series of video’s featuring our interview with world-famous music producer, Tony Visconti. The interview took place in 2018. Tony generously and comprehensively answered our questions. He provided a lot of information and insight into the music he and David Bowie made, and the times they shared with drummer Dennis Davis. As part of the interview, Tony provided some unique Bowie track breakdowns, to illustrate how important Dennis Davis drumming was to the sound of Bowie’s groundbreaking late 70’s music. One such was of Look Back in Anger - the classic Bowie rocker from his 1979 album, Lodger. It is a track dominated by Dennis Davis’ drums, and is rightly regarded as one Dennis’ signature tracks with Bowie. Dennis’ drum tracks for Lodger were in all likelihood recorded at Mountain Studios in Switzerland, in September 1978, during the break in Bowie's Isolar II World Tour. On Tony's breakdown for The HD Projects, vocals and lead instruments are stripped away to fully reveal the drumming, and a previously unidentified Dennis Davis conga drum track, subtly hidden in the mix. In places, elements of the original track, including Bowie’s vocal, have been mixed back to add context and enjoyment to the video. Huge thanks to Jeremy Otto at The Musicians Notepad for the use of his drumming footage http://musiciansnotepad.com. ___ A personal note from Hikaru Davis: After my father’s passing, I didn’t want to hear anybody say his name. It was not because I wanted to forget about him. It was my way of mourning. It made me sad, angry, and depressed to hear his name from someone. I wanted to keep him only inside of me. Maybe I was too selfish. But I was only 10 years old. After a while, I started looking at social media to see what people were saying about my father. And I saw an article in Rolling Stone Magazine about Dad’s death. That’s when I saw Mr. Tony Visconti’s name for the first time. To be honest, I didn't know much about my father’s career when he was alive. Dennis Davis was my dad. I used to go to his gigs with him, and watch him set up his drums and play. But wow, Rolling Stone? I know that magazine! And Mr. Visconti wrote such nice things about my father. When I started this interview series, he was on top of my “I want to interview” list. I nervously sent him a message, and wrote him what I was doing. He generously agreed to do the interview. But he is such a busy person. I had to wait for a year. He invited my mother and me to his studio in New York City, right before my 11th birthday in March 2018. He answered all of my questions in a way I could understand. And then my video partner Nacho has been editing the material for another year. Now, it’s almost my 13th birthday around the corner. I’m so excited to share the series of interview videos with Mr. Tony Visconti. I hope you enjoy, and remember my late father, Dennis Davis. Thank you all for supporting me and my project! ____ A note from Nacho: I am very proud to working on this project with the Davis family. I first noticed the drumming of Dennis Davis on tracks like Look Back in Anger, when I was about the age that Hikaru is now. At that time, I had no idea who Dennis Davis was, but I loved what I was hearing. And my appreciation and enthusiasm for the music that Dennis made such an important contribution to, has never really waned. A lot of preparations were made for the interview with Tony Visconti, and there was considerable anticipation. The material Hikaru sent me from that day, exceeded all expectations and it is a huge and satisfying ongoing task to produce videos that do justice to that material, and to the subject matter. The Look Back in Anger track breakdowns were an obvious standout in the material, and I felt a stand-alone video was warranted. Hikaru and Chie captured great sound at Tony’s studio and his explanations and enthusiasm for Dennis drumming is a delight. But, Tony and Hikaru looking at a computer screen throughout the playback was not a satisfying visual, so I got to work... facebook.com/TheNachoVideos youtube.com/nachomarcho vimeo.com/NachosProductions ___ Dennis Davis passed away on April 6th, 2016. Hikaru is the youngest child of the late drummer. Hikaru interviews some of the great musicians and producers who have worked with his late father, as well as Dennis's friends and family. Dennis Davis played with David Bowie, Stevie Wonder, Roy Ayers, George Benson and many others. Hikaru hopes to learn how and why his father was one of the greatest drummers, and hear inspiring stories of his father through this tribute project. Please subscribe, and follow The HD Projects: facebook.com/thehdprojects youtube.com/channel/UCY2aDqSy2_g6hysuYU7uOPw IG thehdprojects Use of the music and footage contained in this video does not imply any copyright ownership, and no infringement of rights is intended. #Lodger #BrianEno #CarlosAlomar

John Martyn • Outside In • Live on The Old Grey Whistle Test • 16 October 1973 Musicians: John Martyn - guitar, vocals Danny Thompson - double bass Sources: Audio & Video: John Martyn “Outside In”, recorded live on BBC TV’s The Old Grey Whistle Test. Broadcast 16 October 1973. The complete John Martyn 16 October 1973, Old Grey Whistle Test broadcast, including Make No Mistake, is available here: https://vimeo.com/340792350 There were no new John Martyn albums in 1972 and 1974. But in 1973, there were two. Solid Air, released in February '73, was quite a big commercial and critical success, an album of great songs combining elements of folk, jazz, blues and space rock. After Solid air's release, Martyn quickly recorded the material for Inside Out, over a few days in March, in the early hours of the morning. The material was much more experimental in nature, with John delving deeper into his Echoplex experimentations. Inside Out was released in October '73. It was an album with emphasis placed on feel and improvisation rather than song structure. The Echoplex tape delay effect is very much to the fore on Outside In. Martyn's live versions in the mid-'70's could run to around 20 minutes, moving into deep and experimental sound universes. Here on "this nice family show" version, we get a mere 5 minutes, but it's enough to appreciate Martyn's mastery of the Echoplex, and of the incredible musical connection between him and Danny Thompson. Going from the sublime to the ridiculous, the performance ends with with a little raucous comedy moment from Marytn in folk-hooligan mode. But as 'Whistle Test presenter, Bob Harris put's it, "Well, that was John Martyn". Hope you dig it! 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 Facebook.com/TheNachoVideos YouTube.com/nachomarcho Vimeo.com/NachosProductions #JohnMartyn #InsideOut #DannyThompson

Japan • Swing • Live on Old Grey Whistle Test • 21 December 1980 • Remastered • Continuing my mission to improve upon Japan’s online video legacy, here’s my remastered version of their classic 1980 OGWT live performance of Swing. • The December ’80 Old Grey Whistle Test show is currently the only live Japan performance footage of note in circulation from the Polaroids era. Fortunately, sound and vision quality of the broadcast is basically excellent, as one would expect from the BBC. However, the BBC audio mix is problematic. It is mono, it lacks depth and Sylvian’s vocal is very dry and way too loud in the mix. And because the vocal is so loud, and some crude limiter must have been applied to the overall track, when Sylvian sings, the level of the backing track suddenly drops significantly. What to do? I asked my pal the producer Particledots, if he could look in his box of magic tricks for an solution. Particledots came up with a technical miracle - he managed to separate the vocal and the backing track almost 100% cleanly. And so with the two separated tracks, I was able to work on them individually. Adding limiter and compression to the backing track, I was able to stabilize the wildly changing volume levels. To Sylvian’s vocal, I added some subtle reverb and other effects. Then individually, both tracks were EQ’d and had a little fake stereo added to them. Lastly, when recombining the two tracks back together, I kept the vocal track much lower in the mix than on the original version. On the visual side, I combined two different sources of the footage, and by adding various filters I could create a clean, optimized version. Thanks for watching, hope you dig it! • Credits Audio and Video Source: Japan • Swing • Live on Old Grey Whistle Test • 21 December 1980 • BBC TV Musicians: David Sylvian • vocals, guitar, synthesiser Rob Dean • guitar Richard Barbieri • synthesiser, keyboards Mick Karn • bass, saxophone Steve Jansen • drums, percussion, synthesiser • Always more videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I'm not making any money out of this etc. Just a fan making videos for other fans. Please Share, Like, Comment, Subscribe NachosVideos.com Facebook.com/TheNachoVideos YouTube.com/NachoVideo ok.ru/nachovideo DailyMotion.com/NachosVideos Instagram.com/NachoVideo Twitter.com/NachosVideos Patreon.com/nachosvideos TheNachoVideos@gmail.com I edit, therefore I am #Japan #DavidSylvian #Swing #GentlemenTakePolaroids

Party scenes from Steve McQueen’s new film, ‘Lovers Rock’, cut to the classic Channel One dub plate Kunta Kinte. • From Discogs: (The Revolutionaries were the) in-house session band for Joseph "Jo Jo" Hookim's Channel One label. Built around drummer Sly Dunbar and bassist Ranchie Mc Lean - later replaced by Robbie Shakespeare - the band featured at various times fellow Kingston musicians Earl 'Wire' Lindo, Radcliffe 'Dougie' Bryan, Ansell Collins, Bobby Kalphat, Lloyd Parks, Uziah 'Sticky' Thompson, Bongo Herman, Stanley Bryan, Bo Peep, Eric 'Bingy Bunny' Lamont, Errol 'Tarzan' Nelson, Skully Simms, Robbie Lyn, Mikey 'Mao' Chung to name a few. Kunta Kinte started out as the 1978 Channel One song, Beware Of Your Enemies by Creole. https://www.youtube.com/watch?v=OAKHqNckJIk • For me the highlight of Steve McQueen’s new 5-part Small Axe film series, is ‘Lovers Rock’. The film is about two lovers who meet at a West London reggae house party in 1980. https://www.bbc.co.uk/programmes/p08vxt33 Open letter to Steve McQueen: Dear Steve, It is with the greatest respect for your craft that I made this video. I am a big fan of your movies, going back to Hunger in 2008. I loved every one of your new Small Axe films, especially Lovers Rock. It took me back to how much I loved dancing at Dub events in London in the late 80’s and early 90’s, to the likes of On-U Sounds and Jah Shaka. The Kunta Kinte party scene in Lovers Rock blew me away, and I felt very strongly that I wanted to refashion it into an online music video. I sought to contact you about it first. However, you were not to be found, since apparently you don’t have a website, a Facebook or Twitter account. So, here is your Lovers Rock movie recut as a music video. I do hope you are okay about it. Cheers, Nacho • For most of us, there haven’t been any parties recently. For my last video of this grim year, as The Guardian review of Lovers Rock puts it, ‘Steve McQueen throws the best party ever’. In Lovers Rock, when Kunta Kinte is played at the party, the crowd go nuts. It gets two rewinds, and every time produces a euphoric reaction on the dancefloor. During the scene, the narrative also takes us out of the room, and into some of the little dramas and romances that are developing. But when all the Kunta Kinte dancefloor scenes were compiled, there was enough footage for me to edit together a video for the entire duration of the original tune. Thanks for watching, hope you dig it! • Credits Video Source: Lovers Rock • Directed by Steve McQueen • Part of the series Small Axe • First broadcast by the BBC • 22nd of November 2020 • Produced & Distributed by the BBC • Copyright Small Axe Films Ltd MMXX Music Source: The Revolutionaries • Kunta Kinte • From the 2007 Pressure Sounds album ‘Drum Sounds – More Gems from the Channel One Dub Room • Originally a dub plate circa 1980 See also • Creole ‎• Beware Of My Enemies • Released as a 7” single on the Jamaican labels Cord & Gorgon • 1978 Jo Jo Hookim • 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 TheNachoVideos@gmail.com I edit, therefore I am #TheRevolutionaries #KuntaKinte #DubPlate #LoversRock #SteveMcQueen #SmallAxe # Nottinghill #LadbrokeGrove #1980

This is an approximately 40-minute documentary that offers an overview of the 6 months that David Bowie was in the U.S., starring in the stage play, The Elephant Man. The film’s primary focus is on Bowie’s New York experience during that pivotal period. It also outlines the play itself and something of the real-life Elephant Man. Culled from over 50 sources, all known scenes of Bowie as The Elephant Man character are included, along with music, interview and other pertinent archive material. • David Bowie played the part of the Elephant Man from July 1980 to January 1981, in Bernard Pomerance's 1977 play of the same name. The play was based on the real-life 19th century character Joseph “John” Merrick. It was directed by Jack Hofsiss, who recruited Bowie for the role. It was Bowie’s first and only theater role, and it was a critical and commercial success. He was widely praised for his part in the play, contorting his body and voice to convey both the hideous deformities and the humanity of the unfortunate Merrick. To commit so much time to The Elephant Man was an extraordinary decision for Bowie at that stage in his career. Performances were 5 or 6 nights, and 2 afternoon matinees per week. It seems incredible now that for “a person as grasshoppery as me”, as Bowie put it in an interview at the time, he would undertake such a routine for almost 6 months. It effectively blocked him from traveling and music performance, and large scale promotion of his new album. Touring or even comprehensively planning and rehearsing for one would have been impossible. Bowie’s 1980 / 81 Elephant Man schedule was: • Mid-July – 2 weeks of rehearsal in San Francisco • July 29 to August 3 – performances at Denver's Centre of the Performing Arts • August 5 to 31 – performances at Chicago's Blackstone Theatre • September 1 - Rehearsals began for the Broadway run of The Elephant Man, with the New York cast • September 23 to January 3, 1981 – performances at New York's Booth Theatre • Roger Griffin’s excellent David Bowie Golden Years book and web site, were an invaluable resource for this film: http://www.bowiegoldenyears.com/1980.html Whilst I was in the early stages of working on the film, Chris O’Leary published “Scary Monsters at 40” on his Bowie blog, Pushing Ahead of the Dames. It influenced some aspects of this film: https://bowiesongs.wordpress.com/2020/10/08/scary-monsters-at-40/ • The idea for this film originated in 2016 out of desperation to see / create a video for the Bowie ‘80 era. I toyed with using Elephant Man footage to make a video for the track Scary Monsters. Those experiments proved to be fruitless. But when telling a Bowie collector mate about them, he suggested making a “fake” TV ad, based on the real 1980 radio ad for Bowie in the Elephant Man play. Whilst working on that, it occurred to me that there should be a documentary about Bowie in the play. And then the “fake” ad morphed into a hybrid of ad and trailer for an imaginary forthcoming documentary, then called: “David Bowie is The Elephant Man”. Well, four years and about 500 editing hours later, here is that documentary. • Thanks for watching, hope you dig it! • Credits Music by David Bowie: It's No Game [No. 1] • Scary Monsters • 1980 Ashes to Ashes • "rehearsal" • 1980 Life on Mars • Tonight Show • 1980 Ashes to Ashes • Scary Monsters • 1980 Up the Hill Backwards [Early Version] • Unofficial • 1980 Fashion • Scary Monsters • 1980 Station to Station • Stage • 1978 Tired of My Life • Unofficial • 1970 It's No Game [No. 2] • Scary Monsters • 1980 Selected Video Sources: Friday Night, Saturday Morning • BBC • UK • 1980 Countdown • ABC • Australia • 1980 Musik Szene • WDR • Germany • 1980 The Elephant Man • TV Movie • ABC • US • 1980 CBS New Chicago • Bob Sirott report • US • 1980 The Hunger • Tony Scott • 1982 NYC 35mm Footage • The Kino Library • 1980 20/20 Show • ABC • US • 1980 Good Morning America • ABC • US • 1980 The True Story of the Elephant Man • BBC • UK • 1997 The Tonight Show • NBC • US • 1980 TF1 13 Heures • INA • France • 1980 Five Years • Frances Whateley • BBC • 2013 CBS News Channel 2 • US • 1980 Omnibus • ABC • US • 1980 Psychedelic Furs • "Live at Hurrah" • Nacho • 2020 Young Oh! Oh! • Japan • 1980 Aplauso • RTVE • Spain • 1980 Mixer • RAI • Italy • 1980 Christiane F • Uli Edel • 1981 Selected Audio Sources: The Elephant Man • Performance at the Blackstone Theatre • 12 August 1980 Interview with Andy Peebles • BBC • UK • 1980 • 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 Instagram.com/NachoVideo Twitter.com/NachosVideos TheNachoVideos@gmail.com I edit, therefore I am #DavidBowie #TheElephantMan #NewYork #ScaryMonsters #BoothTheatre

This is a new edit of this classic Beefheart Bremen ’72 performance. • In my opinion, the original broadcast version of this clip is one of best music videos of all time. A live performance, featuring Beefheart’s fearsome presence and powerful singing; the awesome dance moves of Rockette Morton, sliding around the studio in his crazy suit and panama; and Bill Harkleroad and THAT riff. Harkeload’s riff is just so damn good, and the 3-guitarist interaction he leads is something truly wondrous to behold; they truly were a magic band. • Thirty minutes of footage shot at the Beat-Club session was released in 2012 on a DVD called Captain Beefheart - The Lost Broadcasts. The performances were in front of blue screen, without the added anachronistic video effects of the original Boogalarize You broadcast, that were typical of the era. Last year The Beat-Club YouTube channel uploaded 4 separate videos, which between them encompass the complete performance. I layered all of the clips together, and found that they added about 6 minutes to the DVD material, including camera angles that hadn’t circulated before. For me, this represented a rare and beautiful opportunity to re-edit one of my favorite music videos. The situation for creating a new edit wasn’t ideal. For instance, in the earlier part of the song, much of the unseen material is just a fairly static long take of Art Tripp’s drumming, with Rockette Morton intermittently skidding past. Also, almost every cut had between it a final frame that was very distorted. These spoiled frames were quite distracting, and therefore had to be edited out, or where possible repaired. Eventually I could cut from one optimized reel to another, and come up with what I hope is a more exciting new edit of this incredible performance. I couldn’t resist a little extra creativity, so the video starts with Beefheart introducing the band, with the addition of the great man’s own paintings and drawings of the corresponding band members, taken from The Spotlight Kid album sleeve and elsewhere. Thanks for watching, hope you dig it! • Credits Source: Captain Beefheart and the Magic Band • Recorded at the Beat-Club studios • Bremen, Germany • April 4th, 1972 Edited from the two Blue Screen reels BC 78 II H Z 1/2 & BC 78 II Z 1/1 Musicians: Captain Beefheart (Don Van Vliet) • vocals Zoot Horn Rollo (Bill Harkleroad) • guitar Rockette Morton (Mark Boston) • guitar Winged Eel Fingerling (Elliot Ingber) • guitar Ed Marimba (Art Tripp) • drums Oréjon (Roy Estrada) • 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 OK.ru/nachovideo Instagram.com/NachoVideo Twitter.com/NachosVideos TheNachoVideos@gmail.com I edit, therefore I am

This video is a newly enhanced version of the famous David Bowie performance of Jacques Brel’s 'My Death’. It features newly remastered sound, and includes Bowie's infamous introduction, that is omitted from all official releases. • My Death was a dramatic way to end the first half of the Hammersmith show. Additional drama spontaneously occurred because in the last line of the song, “Behind the door, there is…”, Bowie doesn't get to add “…you”; the fans beat him to it, screaming back at him, “Me! Me! Me!” But what is not seen or heard on any of the official releases of the movie, or the soundtrack album, is Bowie’s intro to the song. This video restores that intro in full: Before the performance of My Death, Bowie repeatedly asks the frenzied audience to quieten down, so that he can perform the solemn and sensitive song. But when the fans fail to do as he asks, Bowie loses patience with them, and finally demands, “Be quiet!” • Utilised in this video is a matrix of sources, originating predominantly from several versions of the D.A. Pennebaker in concert / rockumentary film, shot at the Hammersmith ’73 show. Although the legendary final Ziggy and the Spiders Hammersmith performance took place in 1973, it was to be six years until Pennebaker’s movie of the show had its theatrical premiere at the Edinburgh Film Festival, on 31 August 1979. And it would be a further four years until the film was finally released in UK cinemas, in 1983. During that ’73 to ’83 period, there were a lot of post-production work done to the material. Both the visual and audio that was captured that night was generally considered to be below par. Pennebaker struggled with the project, acknowledging that the resulting film was "very sloppy”. Bowie was until the early 80’s not much interested in helping to salvage the material, having abandoned the Ziggy Stardust character and moved on. Even after the 1983 release, subsequent revised versions of the film and its soundtrack have been produced and released. An initial version of the film was finished in 1974, and in the 1975 David Bowie documentary Cracked Actor, there is a scene of Bowie in L.A., watching that '74 cut on a home projector. The film was shown in US movie theatres in ‘74, and ABC-TV broadcast a shortened 60-minute version on the 25th of October that year. The official accompanying soundtrack album, ‘Ziggy Stardust And The Spiders From Mars (The Motion Picture Soundtrack)’ was first released in 1983. However, a widely circulated bootleg had been available for many years, containing highlights from the show. The official release, when it did finally surface, surprised many fans, because in places it was quite radically different to the familiar bootlegs. The official release omitted several songs. And due to the extensive overdubbing by Bowie and different musicians, editors and producers over the years, some tracks were almost unrecognisable from the originals. It is said that when in 2003 Tony Visconti stepped in, he ended up removing some of the more intrusive and obvious overdubbing. • I produced a previous version of this video back in 2016. It was one of the very many Bowie videos I created in an obsessive continuous blur of work in the months that followed DB’s passing. That video quickly achieved almost a quarter of a million views, and then suddenly one day last year, it was blocked for copyright reasons. After many requests to make that video available again, I decided instead to produce a new version, since I had better quality source material, and more sophisticated editing software and techniques at my fingertips. Subsequently that second version was taken down, when Vimeo deleted all the music videos from the channel I had on their platform. And so here’s a third version, a few more of the wrinkles ironed out. Hope you dig it! • Credits Video Source: David Bowie • My Death • Hammersmith Odeon • London • 3rd of July 1973 • From the movie Ziggy Stardust and the Spiders from Mars • 1983 • David Bowie A London Show • 1974 • Directed by D.A. Pennebaker Audio Source: David Bowie • My Death • Hammersmith Odeon • London • 3rd of July 1973 • Ziggy Stardust: The Motion Picture DVD • 2003 Ziggy Stardust Hammersmith Odeon 3rd July 1973 • The Robin Mayhew monitor mix Musicians: Vocals & 12-string guitar • David Bowie Piano • Mike Garson Producers • David Bowie • Mike Moran • Tony Visconti • Robin Mayhew • 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 Facebook.com/TheNachoVideos YouTube.com/NachoVideo DailyMotion.com/NachosVideos Ok.ru/nachovideo Instagram.com/NachoVideo Twitter.com/NachosVideos TheNachoVideos@gmail.com I edit, therefore I am. #DavidBowie #MyDeath #ZiggyStardust #HammersmithOdeon #DAPennebaker #MikeGarson #TonyVisconti #1973

Can • Halleluwah • Live • 1971 [50th Anniversary Restoration] My restoration of this early live video of Can, performing Halleluwah, a track originally from their album Tago Mago, which was released 50 years ago this month, August 1971. • Moon shadow coming down... Can’s Tago Mago is a masterpiece, and Halleluwah, which at 18+ minutes long, took up the entirety of side two of the original vinyl release, always feels to me like the centrepiece of the album. Halleluwah is (Wiki:) characteristic of the band's sound around 1971 in that it features a vast array of improvised guitars and keyboards, tape editing, and the rhythm section "pounding out a monster trance/funk beat". The drum beat for which the song is famous is repeated almost continuously by Jaki Liebezeit, with only minor variations, throughout the course of the 18-minute jam. In one line of the song, Damo Suzuki's lyrics mention all the songs from side one of Tago Mago: "mushroom head, oh yeah, paper house." This early live version of Halleluwah is played faster and is more concise than the studio version, at only about 6 minutes long. Neither sound or visual quality of the original clip is really great, but it’s all we’ve got of Halleluwah from the era. • Can came to me in the mid-80’s. My colleague at Virgin Records High Street Croydon, Richard Bentley, from the band Circus Circus Circus, had made me a compilation tape, and featured on it was Moonshake by Can, from their 1973 Future Days album. I was blown away by Future Days. It and Soon Over Babaluma soon became a mainstay of many smashed out of my brain post-rave all-nighters, throughout the late-80’s and early-90’s. The extraordinary music of Can is so profoundly etched into my subconscious from those deep, deep listening sessions. I met Can keyboardist Irmin Schmidt once. It was in the early 90's at Midem, the annual music industry convention in Cannes. I was buying vinyl from Can's label, Spoon Records, for the music distributor I worked for. My boss knew I was a huge Can fan. He sprung a surprise on me... and suddenly I'm shaking hands with the guy who had contributed such an important part of the soundtrack of my life with his euphoric music. I did what I always do when I meet a personal hero: I was dumbstruck, and mumbled something to Mr. Schmidt that was probably quite incoherent. A little later, I was lucky enough to see one of the Can-Solo-Projects shows, at the Barbican in London in '99. Michael Karoli, Irmin Schmidt, and Jaki Liebezeit played separate sets. Two years after that show, Michael Karoli passed away, and last year we lost both Jaki Liebezeit, and Holger Czukay, leaving Irmin Schmidt as the only surviving long-term member of Can. • To my knowledge, in recent times, there has only been one broadcast of the live ’71 Halleluwah footage - in 2006 as part of a series of shows called Die Deutschrock Nacht, on the German TV station WDR. YouTube contains several versions of the clip, taken from that show. All the ones I am aware of, uploaded over the years, are of quite poor quality. It’s understandable - the source material is not great to begin with – the picture is grainy, flat and colorless and it contains a lot of scratches and blemishes. The audio is mono and flat and is running out of sync with the video. For my fix, I went through the original footage, frame by frame and “removed” the most distracting of the blemishes. Then I separated the two camera angles and rebalanced and filtered them separately. Some of the previous YouTube uploaders have created quite imaginative versions of the clip, rearranging the two camera sources and adding various digital effects. When I was recombining the two camera angles, I tried several creative things myself, but I couldn’t come up with anything that satisfied me. And so I settled on a relatively straightforward enhanced version of the original. On the audio side, I properly synced the track to the video and EQ’d it, significantly enhancing the lower frequencies and added subtle fake stereo. Thanks for watching, hope you dig it! • Credits Audio and video: Can • Halleluwah • Live 1971 • Unknown concert • Shown as part of Die Deutschrock Nacht, on WDR in 2006 Original studio version of Halleluwah from the Can album Tago Mago • Recorded November 1970 to February 1971. Originally released in Germany in August 1971 Musicians: Jaki Liebezeit • drums Holger Czukay • bass Michael Karoli • guitar Irmin Schmidt • organ Damo Suzuki • vocals • Always more videos to follow, so please keep your electric eye on me babe! I don't own the rights, and I don’t monetise the videos on this channel. 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 #Can #TagoMago

Tracing My Dad • Vol. 10 • Tony Visconti discusses Dennis Davis and David Bowie • Part 4 [ 79/80 ] The HD Projects presents the fourth and final in the series of interview videos with world-famous music producer Tony Visconti, talking about drummer Dennis Davis. The interview took place at Tony Visconti's recording studio, in New York City in 2018. Tony provided a lot of information and insight into the music he and David Bowie made and the times they shared, with Dennis Davis. Each video focuses on a specific phase of Tony’s work with Bowie and Dennis. This one is on the period that produced Bowie’s 1979 album Lodger and 1980 album Scary Monsters (and Super Creeps). The recording and production happened over a period of about 20 months, in London, Montreux and New York. During this time, the constant in Bowie’s musical cohorts continued to be Tony Visconti and The D.A.M. Trio - Dennis Davis, Carlos Alomar, George Murray. In this video, Tony shares interesting stories and details from those sessions, and beyond. Included is a previously unheard track breakdown of Bowie classic Ashes to Ashes, from the original 1980 multi tracks. A personal note from Hikaru Davis: When I watch these videos, I feel time. I feel time because I looked so small and young. My voice was still a little boy’s voice. But when I think about the time passed, it seems that nothing has changed. I’m afraid to forget my dad, how he was like, how his voice was like and how his drum sounded like. I’m lucky because he left us so much. I can always listen to his drums. When I visited Mr. Visconti’s studio, he shared the original recording sound of my Dad. I could even hear him cough too. I would like to thank Mr. Visconti for his time, sharing many stories of my Dad and the sounds of my favorite drummer, Dennis Davis. Thank you. A note from Nacho: “He always played parts that seemed impossible… he always came from left field with something special.” – Tony Visconti, talking about Dennis Davis on this video. When I listened as a kid to the incredible drummer on those ’75 – ‘80 Bowie records, I didn’t know who he was, but I certainly knew Dennis was something special. And so decades later, working with Hikaru and Chie Davis on this series of videos has been my pleasure and my privilege. But it has also been a hell of a lot of work, which sorta turned it into this years big karma-yoga duty for me, as we yogi’s say. Despite one piece of vital equipment not functioning, Hikaru and Chie did a great job at Tony’s studio that day. Upon first watching all the raw interview footage Hikaru sent me last year, the remit was obvious, the task daunting: Unscramble all the of 2 hours+ of talk shared between Tony and Hikaru, turn it into something coherent, interesting, digestible. It was worth all the work, I believe that through these videos we now have a little more of a picture of the musical process and of the creators of that magical Bowie art. I hope you dig it! facebook.com/TheNachoVideos youtube.com/nachomarcho vimeo.com/NachosProductions ____ Dennis Davis passed away on April 6th, 2016. Hikaru Davis is the youngest child of the late drummer. Hikaru interviews some of the great musicians and producers who have worked with his late father, as well as Dennis's friends and family. Dennis Davis played with David Bowie, Stevie Wonder, Roy Ayers, George Benson and many others. Hikaru hopes to learn how and why his father was one of the greatest drummers, and hear inspiring stories of his father through this tribute project. Please subscribe, and follow The HD Projects: facebook.com/thehdprojects youtube.com/thehdprojects IG thehdprojects Use of the music and footage contained in this video does not imply any copyright ownership, and no infringement of rights is intended. #DavidBowie #Lodger #ScaryMonsters #TheDAMTrio #TonyVisconti #DennisDavis #CarlosAlomar #GeorgeMurray #BrianEno #AshestoAshes

Lust for Life is a track originally from the Iggy Pop album, Lust for Life released on the 29th of August, 1977. Most of the footage used here was shot about a month later, for So it Goes; a British TV music show. So it Goes was presented by Factory Records founder, Tony Wilson and shown on Granada Television between 1976 and 1977. So it Goes specialised in showcasing the punk rock scene of the day. Manchester was the ninth date of the Lust for Life tour. The tour had started in Iggy's then home city of Berlin on September the 12th and it would finish up two months later on the 18th of November at the Santa Monica Civic Auditorium. The musicians on the Lust for Life album had been The Idiot touring band of: Tony Sales - bass, Hunt Sales - drums, Ricky Gardiner - guitar, David Bowie - keyboard and backing vocals. Plus Carlos Alomar - guitar. However, by the time of the Lust for Life tour, Bowie and Gardner were gone, replaced by Bowie's former lead guitarist from the Station to Station tour, Stacy Heydon, and multi-instrumentalist, Scott Thurston, on guitar, piano, synthesizer, harmonica. Stacy Heydon, on how he came to be chosen for the Lust for Life tour "Iggy accompanied us throughout the Station to Station tour. He and Dave were best mates. I was approached by Jimmy. No doubt Dave gave his blessing". Scott Thurston had already been a member of the 1973 - 74 live incarnation of The Stooges, and he had played on the Kill City material in 1975. Stacy Heydon talking about the tour with Iggy: "The people in Manchester were among the best. Being mostly of English dissent I felt very much at home throughout the country. Jimmy was and is quite the entertainer. On countless occasions he would be sharing his extensive knowledge on things like French impressionists, psychology, various political systems, specific museum pieces and the like. Two steps later as soon as we’d taken the stage all bets were off. Being on tour with Mr Osterburg was not for the faint of heart but it did open my eyes to the immense wit and chameleon like qualities that he could extract from his psyche at will, and was the very fabric of his being. That said, whichever side of the cloth you happened to be with at any given time seemed to be the antithesis of the other. If it’s true that opposites attract, that little fucker must love himself as much as we all do!" The material shot for So it Goes was shown on British TV about a month after the live show on the 30th of October. Part of The Passenger was shown, a short interview with Iggy, and at the end of the show, part of Lust for Life, with credits played before the end of the song. Unfortunately, this broadcast led to the early demise of So it Goes. As John Cooper Clark states on his narration on “Anarchy in Manchester”, “Unfortunately for So it Goes, his (Iggy’s) noble onstage savagery led to the shows cancelation in late ’77. That FY appendage didn’t do it for Granada’s top brass.” And so the planned third series of So it Goes never happened. __________________ This recreation of Lust For Life is from 10+ sources. No footage could be found for the first minute and a half of the track, so I used footage from another European date on the tour (possibly Amsterdam). It’s not a perfect match - Iggy is wearing different clothing and the venue and audience are obviously different, but better that than a blank screen or omitting a large chuck of the track, I think. A sixteen minute version of this video Iggy Pop • Live in Manchester • So it Goes • 25th September 1977 is available on my Vimeo channel: https://vimeo.com/243329813 In addition to Lust For Life, it contains a complete version of The Passenger and additional interview material with Iggy. Been dabbling with this project for many months. It's still not right, but until it's uploaded, it's a distraction from future projects. Now I can forget it, and move on. Hope you dig it! _______________ I am grateful to Easy Action for providing the audio track and allowing me to use it on this video. The Manchester audio performances of Lust for Life and The Passenger are available to buy from Easy Action, as downloads and a limited edition 10” vinyl has just been released. easyaction.co.uk/index.php?route=product/product&product_id=558&search=iggy+pop itunes.apple.com/gb/album/apollo-single/id1280354092 _______________ 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. Thanks!

David Bowie • “Heroes” • Live at Earls Court • June 30th 1978     Audio: David Bowie • “Heroes” & What in the World, from “Welcome to the Blackout” • Recorded June 30th 1978 • Produced by David Bowie and mixed by David Bowie and David Richards, January 17th - 22nd 1979   Musicians: David Bowie – vocals, keyboards Carlos Alomar – rhythm guitar, backing vocals George Murray – bass, backing vocals Dennis Davis – drums, percussion Adrian Belew – lead guitar, backing vocals Simon House – violin Sean Mayes – piano, string ensemble, backing vocals Roger Powell – synthesizer, keyboards, backing vocals   Video: Earls Court, London • July 30th 1978 • From the LWT David Bowie Special 1978 & South of Watford David Bowie Special 1983. Dallas Convention Centre, Texas • April 10th 1978 • From David Bowie Live on Stage RCA promo video   The David Bowie Isolar II 1978 World Tour, also known as The Low / Heroes World Tour or The Stage Tour, hit London forty years ago. Three nights were played at the Earls Court Arena, 29th & 30th of June & the 1st of July. The Earls Court shows were hailed as a triumph. In July ’78, the NME published Nick Kent’s review of one of the shows, which ended with, “That shimmering sizzle, that fizzy brilliance that is undeniably attuned to Bowie's work, was all there on Thursday. It impressed me, it entertained me and very occasionally had me almost spell-bound. It was a total success.” The never-completed and never-shown David Hemmings-directed STAGE movie, was shot at the last two Earls Court shows. The fourty year old undigitised reels for which are to this day 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. So with my video - basically a superior remake of one I made two years ago youtu.be/1Sq6_NVrKes - we have at least a small taste of how the film might be. The combination of the magnificent version of “Heroes” from Welcome to the Blackout, and the excellent footage from the same show, shot by the LWT crew, is I think one of the best documents we have from the ‘78 tour.   This video serves as a very personal memento for me, of the concert that I most wish I had been able to attend. In the summer of 1978, I was already a Bowie fan. However, I was only 11 years old. I don’t remember if I was aware of the tour at the time, but regardless there would have been no way my parents would have allowed me to go. I do remember that I saw at some point, at least part of the LWT Bowie Special TV program, that was shot at the Earls Court shows. I don’t know how I could have seen the show when it was first broadcast because my parents were not high-brow types; they would not have been interested in watching an alternative arts show. And moreover I have a vague recall that my Dad was irritated by the presenter of the show, Janet Street-Porter. There was a part of the interview Bowie gave on the show, where he mentioned that he would be touring again in one or two years, and I knew that I wanted to be at those shows. Sadly, that tour never materialized, and it would be 5 years until he came back to play live, doing the Serious Moonlight thing. But by then, I was no longer a child, times had changed, and Bowie’s current Let’s Dance pop music and style did not appeal to me. As I have said many times, the show that I caught at London’s Wembley Arena, in 1983, was the big musical disappointment of my life. There is in existence, a perfect HD digital transfer of the LWT material. Unfortunately I don’t have it. And so instead what we have here is a matrix I’ve cobbled together of 7 different versions of the footage, that I’ve collected over the years. All versions are incomplete, and contain considerable glitches. Combining all these versions, get’s around most of the issues, but causes some variance in quality, and moreover still leaves us with about 30 seconds missing from the performance. You may decide for yourself, if that that issue has been convincingly masked here.   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

The Late Great '78: Glamour's Golden Sunset • Taster / Trailer • Mama Film Worx • 2022 • This is the first taster for the forthcoming documentary film, "The Late Great '78: Glamour's Golden Sunset", scheduled for release first quarter of 2022. The film features archive material from the era, and contemporary commentary and interviews from Marcel Grant, Grace Jones and Amanda Lear and many others. The film is written and directed by Marcel Grant, and edited by Nacho. • 1978... the most glamorous year ever! This is the bold claim made by filmmaker Marcel Grant in this new film which, through archive footage along with contemporary interviews with some of the surviving characters, documents the star studded decadence of a scene in which the chic and famous of the world’s major cities partied like there was no tomorrow. From the decadence of the Romans to the ‘Bright Young Things’ of the 1920’s, high society has traditionally indulged, played, spent money excessively and participated in every form of sexual fantasy imaginable. However, Grant concludes that against a contrasting background of economic gloom, the year 1978 presents the apex of a hedonism which though still fabulously glamorous, was far more democratic... providing you were young, beautiful, rich or stylish enough to allow the velvet rope to slide aside, granting you entry to nirvana. Marcel Grant was 17 in 1978 and crashing in one of Soho sex-king Paul Raymond’s London penthouse apartments, along with a louche collection of nightlife denizens, strippers, models and high society types slumming it on the London scene. An aspiring actor with some high fashion modelling for David Bailey and Antony Price under his belt, Grant was in a prime position to witness and indulge in the pleasures of the hedonistic social whirl of London to New York... Paris to Palm Beach. Conveyed by limousine from one hot spot to the next, he recalls sharing cocaine laced birthday cake with Liz Taylor, dancing on the bar at the legendary Studio 54, seeing Grace Jones in one of her early performances in Orlando and then being whipped on stage by her in London, having a song written about him by Freddie Mercury and meeting Princess Grace of Monaco... these were just a few of the now seemingly impossible experiences this straight teenager experienced while navigating the heavily gay influenced scene of the time. A time when super-stars, fashion models, artists, movie stars gay or straight, would rub shoulders with wider society before Aids hit, and the murder of John Lennon forced the famous to retreat behind their walls of high security... and so the ‘VIP area’ was created. Marcel Grant’s film will be a visual feast which documents this super-stylish milieu, before globalization flattened the playing field and ended the era of true style and glamour proving that 1978 was indeed... ‘Glamour’s Golden Sunset’. Contact details: Email: info@mamafilmworx.com Phone: 0044 (0)7565273989 Instagram: the.late.great.78 Marcel Grant Wikipedia page: https://en.wikipedia.org/wiki/Marcel_Grant • Thanks for watching, hope you dig it! • Credits Video Sources: Too numerous to mention... Music Source: Cerrone • Supernature • Cerrone III Album Version / Sweet Drums / Accapella • Nacho Edit Recorded June - August 1977 • First released on the album Supernature (Cerrone III) in September 1977 • Released as a single in the UK in August 1978 Produced by Cerrone • Always more videos to follow, so please keep your electric eye on me babe! Please Share, Like, Comment, Subscribe NachosVideos.com Facebook.com/TheNachoVideos YouTube.com/NachoVideo DailyMotion.com/NachosVideos OK.ru/nachovideo Instagram.com/NachoVideo Twitter.com/NachosVideos TheNachoVideos@gmail.com I edit, therefore I am #TheLateGreat78 #MarcelGrant #Nacho #Supernature #London #NewYork

David Bowie - Cracked Actor - Live at the Universal Amphitheatre - 09/05/1974 Cracked Actor was originally a song from David Bowie's 1973 album, Aladdin Sane. It was subsequently performed on the 1974 Diamond Dogs tour, and was included on the David Live album. Like most of the older material played on that tour, Cracked Actor was rearranged to suit Bowie's new "Soul Man" 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 I have been asked many times to create some videos for Bowie's '74 tour. There is very little material available, but I have gathered all the footage that's out there, I think. Among the Super 8 stuff there are some possibilities, tho' a lot of labor will be required. In the meantime, I've taken the obvious easy road of first working on the footage from the wonderful 1974 Alan Yentob BBC documentary, Cracked Actor. The in concert materiel it contains is really well filmed, as one would expect from the BBC. Unfortunately, however it contains no complete song. Therefore some imagination and technology is required. Here, I am more or less retreading what others have tried before, but not at this quality. I do hope, those lovely people 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! Do me an' yerself a favor - watch it in HD with the sound UP LOUD! ------------------------ Posting today, the 10th of July, 2016 - the 6 months anniversary of Bowie's death. ------------------------ If anyone has any other footage, or ideas for another video project, of material from Bowie's classic period, do please get in touch: nachomarcho@gmail.com Putting this video together was another huge labour of love, made with love and with respect for the source. 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 Like, Comment, Subscribe. Thanks!

Neu! • Hero • Live at the Dingerland Free Concert • Rattingen, Germany • 14 September 1974 • This video is my restored and re-edited version of this classic clip of Neu! performing an early punk as f*ck live version of Hero. A couple of months later, this lineup of Neu! would record a reworked Hero for inclusion on the Neu! 75 album. • Neu! was a German band formed by Klaus Dinger and Michael Rother after their split from Kraftwerk in 1971. Dinger and Rother worked closely with producer and “non” (unofficial third) member Conny Plank. Together they created completely unique and ground-breaking music on three albums: Neu!, Neu! 2 and Neu! 75. Neu! had minimal commercial success during its existence, but is retrospectively considered one of the formative Krautrock bands and a significant influence on many artists including David Bowie, Brian Eno, Sex Pistols & PIL, Joy Division, Stereolab, Gary Numan, Ultravox, Simple Minds, Radiohead, Sonic Youth, Julian Cope. Neu! split for the first time in ‘73. Klaus Dinger then formed La Düsseldorf with his brother Thomas and Hans Lampe. And Michael Rother formed the band Harmonia with Cluster's Hans-Joachim Roedelius and Dieter Moebius. Neu! reformed in ’74, fulfilling an obligation to record another album. This September ’74 clip was shot at the Dingerland free outdoor concert, at Blauer See (Blue Lake) in Ratingen, near Düsseldorf. The concert was one of two that had been organised to publicize Klaus Dinger’s short-lived new label Dingerland. Apparently, this show may have been the only time Neu! played live with this line-up; that was basically the La Düsseldorf band + Michael Rother. Side two of Neu! 75 (particularly "Hero") was acknowledged as an important influence by many later involved in the UK's punk rock scene, with Dinger's sneering, barely intelligible vocals searing across a distorted Motorik beat with aggressive single chord guitar pounding. After recording Neu! 75, Dinger and Rother split again, and pursued their separate musical projects. They again reformed in the mid-80’s and an album of those sessions “Neu! 4” surfaced in the mid 90’s. David Bowie was greatly influenced by Neu!, La Düsseldorf and Harmonia. Check out the obvious similarity of Bowie’s "Red Sails" from ’79, and the Harmonia track "Monza (Rauf Und Runter)" from the ‘75 album Deluxe. Bowie later proclaimed La Düsseldorf "the soundtrack of the eighties”. Brian Eno has stated that Harmonia was "the world's most important rock band" in the mid '70s. Just prior to his pioneering work with Bowie in ’76, Eno joined Harmonia to record what would eventually become the Tracks and Traces album. • Links Neu! • Web site http://www.neu2010.com Kraut und Rüben - Anfänge Deutscher Rockmusik • German WDR documentary series https://www.youtube.com/playlist?list=PL88F73F844755E67C Klaus Dinger, Urvater des Techno • German Arte documentary https://www.youtube.com/watch?v=M90Y132ftkU&t=640s The Wire 2001 • Interview with Klaus Dinger https://www.thewire.co.uk/in-writing/interviews/klaus-dinger-interview-transcript Klaus Dinger • Bio https://klausdinger.com/wp-content/uploads/2020/06/KlausDingerBiography.pdf Michael Rother • Web site http://www.michaelrother.de/en/ Michael Rother • 2018 interview https://www.carhartt-wip.com/en/journal/music/radio/2018/05/artist-feature-neu Kraftwerk • Rückstoss-Gondoliere https://www.youtube.com/watch?v=O8Y_-ZLGW1o • Recommended listening Neu! • Neu! • 1972 Cluster • Zuckerzeit • 1974 Neu! • Neu! 75 • 1975 Harmonia • Deluxe • 1975 La Düsseldorf • La Düsseldorf • 1976 Harmonia & Eno • Tracks and Traces • 1976 Michael Rother • Flammende Herzen • 1977 • This two minutes is unfortunately the only known footage of Neu! in circulation. It has long been one of my favourite music clips on the internet. But as is often the case with me, I was frustrated with the poor quality of the existing versions of the clip. Additionally, the original contains some pretty bad editing. And so, I’ve tried to rectify the situation. Hope you dig it! • Credits Video Source: Neu! • Hero • Live at the Dingerland Free Concert • Rattingen, Germany • 14 September 1974 • From the WDR 2006 documentary series Kraut & Rüben Musicians: Klaus Dinger • Vocals, guitar Michael Rother • Guitar, electronics Thomas Dinger • Drums Hans Lampe • 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 ok.ru/nachovideo DailyMotion.com/NachosVideos Instagram.com/NachoVideo Twitter.com/NachosVideos TheNachoVideos@gmail.com I edit, therefore I am #Neu! #KlausDinger #MichaelRother #LaDüsseldorf #1974 #1975