film review: Becoming Led Zeppelin

 

Directed by Bernard MacMahon

ChinoKino review: A- (in IMAX)

Reviewed by Allan Tong

First of all, this movie rocks on a giant screen. True, some footage is grainy on an IMAX screen, and the sound is bright in places, but this long-gestating doc effectively chronicles the sudden rise of the top hard-rock band of all time.

Led Zep's three surviving members, plus deceased drummer John Bonham heard in a rare 1980 interview, tell their early life stories. Guitarists Jimmy Page and John Paul Jones were top session men in Swinging Sixties London, lending riffs to everything from the Goldfinger theme to the early Kinks hits, while singer Robert Plant and mate Bonham were gigging in various blues-rock bands up in Birmingham. By the time they coalesced in the summer of 1968, all four were seasoned professionals. Page built the band from the ashes of the legendary Yardbirds, knowing his way around both a studio and stage. By the time of his birthday in January 1970, Led Zeppelin were the top band in the world. 

Their rise was that swift, that sudden. For once, a rock band isn't inflating its own importance. Becoming Led Zeppelin is told only by the band members. No confidantes, no ex-wives, no rock historians. It doesn't need to. If the story was about the later debauchery that gripped the band's world tours (i.e. underage groupies, drunk "The Beast" Bonham running amok), then such a film would need other perspectives. Here, the band alone suffices.

That said, manager Peter Grant needs some colour in Becoming Led Zeppelin. He was crucial to their rise by securing a golden record deal with Atlantic Records as well as record-breaking fees at the box office. Grant was a rare manager who protected and didn't exploit his band. He was also a former wrestler, infamous for intimidating tour promoters.

Another criticism is that a lot of the live footage in the film is taken from the excellent two-DVD set, Led Zeppelin. This includes the brief, but memorable performance from Tous en Scene, shot in Paris in June 1969 and broadcast on French TV. What is lost on home TV screens is magnified here--and it's not the band. Rather, it's the audience of ordinary folk--moms, dads, kids. Two little children plug their ears while their elders stare blankly as these screeching long-hairs. (I wonder if they later they boasted of seeing one of the first Zeppelin gigs.)

Another clip from the DVD set is the extended Dazed and Confused from UK's Supershow. It has been played often on TV and easily found online. However, this clip was the showstopper at the IMAX screening I saw. It is mesmerizing on a giant screen.

The film ends with a glimpse of the January 9, 1970 show at London's Royal Albert Hall. The entire gig is presented on the DVD, but looks disappointingly grainy on the big screen. That said, the two hours leading up to this point are a thrilling ride. You may not need to purchase the inevitable blu-ray or DVD of this doc, but fans should catch it on the big screen while they can.

Becoming Led Zeppelin opens across Canada in 13 cities in IMAX on Feb. 7.

film review: The Stones and Brian Jones

Directed by Nick Broomfield

ChinoKino score: A

Review by Allan Tong

Mick Jagger and Keith Richards are household names in 2023, but not Brian Jones. Only longtime Rolling Stones fans will know Brian Jones, who in a few years after founding the band was kicked out and found dead in his swimming pool in 1969.

Renown British documentarian Nick Broomfield has released a gripping film about this tragic figure that will impress both diehards and newcomers. The Stones and Brian Jones includes many extensive interviews with bandmates, lovers and friends, unseen footage and even a forgotten Jones song.

Broomfield nailed the right interviews. Stones' bassist Bill Wyman is the band's most reliable chronicler and the bandmate closest to Jones. Jones was a brilliant guitarist whose mission was to bring the blues to British then white American audiences. However, says Wyman, Jones was also cruel, driven by insecurities over his elfin stature and losing control of the band he founded to Jagger and Richards.

Jones was also charming and polite. He sweet-talked his way into the homes of families and impregnated their daughters (some less than 20). He sired at least five children. Two schools expelled him and his parents threw him out of their cozy, middle-class home in Cheltenham, England. The teenage Jones rebelled against his  strict parents who objected to his passion for jazz and blues. Their schism lies at the heart of this film.

Another key interview is Marianne Faithfull, the musician, actress and Jagger's lover in the mid-60s. Jones had "incredibly low self-esteem" and that relations with the two leading Stones were so bad "they would have killed each other." She refers to the infamous 1967 drug bust after Jones carelessly boasted to a journalist about his drug intake, but the newspaper mistook him for Jagger and nearly killed the Stones.

Jones was also a bastard. Ex-girlfriend Linda Lawrence recalls knocking on the door of his flat with their little boy in tow and begging Jones for more support money. Instead, Jones and his then-paramour Anita Pallenberg huddled inside and laughed at her predicament.

Pallenberg is a key character. Seen in archival footage (she died in 2017), Pallenberg transformed Jones and (with Faithfull) injected sophistication into a the yobbish Stones. The Italian-German model was wordly and fearless and looked like Jones' twin. However, Jones beat her and Pallenberg fled to Keith Richards. (One of the film's few flaws is that it allows filmmaker Volker Schlondorff to characterize Pallenberg as a gold-digger. This is false.)

Though his occasional voice-over is unnecessary, Broomfield has done an outstanding research job, unearthing audio interviews of Jones' father, heartbreaking family letters, a song Jones had co-written that's never seen the light of day, childhood photos and even old film footage of him gamboling around his schoolyard. French singer Zouzou, "Lady Jane" Ormsby-Gore, photographer Gered Mankowitz, band insider Prince Slash and TV director Michael Lindsay-Hogg (Rock and Roll Circus) also weight in. Zouzou recalls that Jones "never" played Rolling Stones records at home (though spun the Beatles constantly). Broomfield's film untangles the psychological mess that was Jones, digging deeper than most chroniclers of the Stones.

Insecure, substance-addicted and self-destructive, Jones felt trapped being a Stone. To the world he was a rebel, but really he remained a little boy who sought his parents' approval and never got it. 

The Stones and Brian Jones will be released by Mongrel Media on November 17 in select cinemas across Canada, Apple TV and VOD.

Now and Then - the last Beatles single and the start of AI

 

by Allan Tong

Beatle fans around the world released their collective breath this morning at 10:00 am EST to hear the new--and last--Beatles single, Now and Then. They were not disappointed.

John's vocal is clear and drives the song. The strings are subtle and add depth, not sappiness. Paul's new lyrics complete John's sentiment. The harmonies, new ones from Paul and existing lines lifted from Because, Eleanor Rigby and Here, There and Everywhere, do not intrude. Same with Ringo's drums--it gets the job done. Paul's solo is finely delivered on slide guitar in tribute to George.

On the whole, the song works. What began as John's home recording c.1977 at a piano on a boombox has been expanded into a fully realized production. Now and Then has gone from a sketch into a fully framed painting.

Of course, it would have been impossible without the technology of AI (artificial intelligence). Full marks to filmmaker Peter Jackson for employing AI to isolate and highlight the various voices and instruments in the Get Back documentary which showed Paul, Ringo and their fans what this technology can do. What AI does on Now and Then is divorce John's vocal from his piano which were locked on a single mono track. Listen:

Paul, George and Ringo attempted to record Now and Then in 1994-5 for the Anthology project and would have found it a place on the third installment of that CD series, but George vetoed the song's inclusion because of the 60HZ him that ran through the demo tape. The technology simply didn't exist in the mid-90s. I suspect that with AI today George would have granted his blessing.

Now and Then is the last Beatles single ever. It's appropriate that it's coupled with the band's very first 7", Love Me Do, released in October 1962. This too has been touched by AI magic to separate the mono track into two: John's harmonica and Paul's bass guitar in the left channel, acoustic guitar and drums on the right and the vocals in the centre, which follows the formula that Giles Martin has applied to all the Beatles remixes since 2017's Sgt. Pepper. The left and right bleed slightly to avoid the "hard panning" that has afflicted many 1960s stereo mixes. Listen to the results, especially on earbuds: 

 

The effect is subtle, yet revolutionary. AI has liberated the old mono recordings into stereo to let each instrument and vocal breathe. John's harmonica has never sounded so distinct, You can hear layers of background vocals and instruments that were buried in the mono mix all these years. Yes, we've heard Love Me Do a million times, but never like this.

Today's release is a canny way to promote the forthcoming 1962-66 re-release (on Nov. 10 along with 1967-70) that has been expanded from the original 26 tracks to 38. Thirty are new remixes, and I'm eager to hear them with the AI touch, especially She Loves You, which exists only in mono (because EMI Records lost the master tapes years ago). That said, fans have already "demixed" this song into stereo and the results sound pretty good. Can Apple surpass it?

In fact, anyone who can get their hands on the right AI software can demix at home. Witness this fan's remix of Free As A Bird, where John's vocal is no longer muddied and buried in the track (it too originated from a home demo), but shines in the forefront:

What this means is extraordinary for music history. AI can demix old recordings of not only The Beatles and their contemporaries, but of Robert Johnson, Bessie Smith, Billie Holliday and others to enhance the sonic quality of their music, present it to today's audience and capture new listeners. Of course, the demixing has to be done with care and taste. The new  Love Me Do mix preserves the original overall sound of the single, but brings out the performances of each musician that were previously overlooked. Fans have already successfully demixed old Beatles demos and even the December 1962 Star Club tapes, which sound primitive. Rumour has it that Peter Jackson wants to demix these tapes. Why not? The Beatles were always innovating with new technology. 

November 3, 2023: A day after the audio release comes the video. Inserts of John and George over contemporary footage of Paul and Ringo recording the track brings home an overwhelming sense of closure. Though these inserts are technically clumsy at times and overdone, they are at other moments poignant. The closing montage of black-and-white photos of the band members growing ever younger is moving. It's impossible not to feel moved, that the final chapter to a grand story has been written. 

book review: Dressing The Beatles

 

Virtually everything has been written about The Beatles by now, but their impact on fashion has been largely overlooked. Renown Toronto arts journalist and Beatlesfreak, Deirdre Kelly, has taken a deep dive and just published a highly detailed study of the band's sartorial impact on culture in the 1960s and beyond.

Kelly's done her homework, interviewing former tailors, including the cutter of Dougie Millings, Beatle experts like Piers Hemmingsen. and even the band's ex-hairdresser. Her book describes the wardrobe of John, Paul, George and Ringo in exquisite detail that fashionistas will respect and Beatlefreaks (like myself) will enjoy. 

The four Beatles dressed in stylistic unison, starting with their punk look of leather jackets and sneers c.1960 (15 years Punk Rock itself), through their elegant-yet-hip Mod phase of the mid-1960s (dogstooth jackets, turtlenecks), and into their Indian-influenced psychedelic phase where they raided Carnaby Street. Each time the Beatles changed their look, so did Western youth. Kelly's book credits the band for boosting the British fashion industry, something that few historians have done.

Kelly isn't afraid to dish out the dirt on some questionable characters. Dutch designers, The Fool, represented hippie excess and exploitative behaviour. Similarly, the Apple Boutique, which showcased The Fool's garish clothes, was a short-lived money pit that proved The Beatles were genius musicians, but lousy businessmen.

Fashioning The Beatles offers the most revelations in the final years of the band (White Album, Abbey Road, Let It Be), a period that is hard to define sartorially. John went through his white phase courtesy of wife Yoko Ono. They all sprouted grew beards and wore denim (the working class uniform). Formalism lingered though, as there are three Beatles sporting suits designed by Tommy Nutter on the cover of Abbey Road. In this period, their fashion choices reflected the members asserting their identities, though their overall casual style remained uniform. (Ringo emerges in this book as the sharpest-looking Beatle.)

Fashioning The Beatles bursts with detail (there are 20 pages of sources) and is highly accurate. Kelly knows her stuff, and her book is an enjoyable and illuminating read.