DVD Review – Control Room (2004) – Iraq from Al-Jazeera’s perspective?

Documentaries are a strange animal, sometimes they are eye-opening, occasionally the message can be fascinating, and at times they can be little more than average.

Unfortunately “Control Room” fits into the latter category for me. Here is

an unofficial tagline for the film.
for the film:

Startling and powerful, Control Room is a documentary about the Arab television network Al-Jazeera’s coverage of the U.S.-led Iraqi war, and conflicts that arose in managed perceptions of truth between that news media outlet and the American military. Egyptian-American filmmaker Jehane Noujaim (Startup.com) catches the frantic action at Al-Jazeera headquarters as President Bush stipulates his 48-hour, get-out-of-town warning to Saddam Hussein and sons, soon followed by the network’s shocking footage of Iraqi civilians terrorized and killed by invading U.S. troops. Al-Jazeera’s determination to show images and report details outside the Pentagon’s carefully controlled information flow draws the wrath of American officials, who accuse it of being an al-Qaida propagandist. (The killing of an Al-Jazeera reporter in what appears to be a deliberately targeted air strike is horrifying.) Most fascinating is the way Control Room allows well-meaning, Western-educated, pro-democratic Arabs an opportunity to express views on Iraq as they see it–in an international context, and in a way most Americans never hear about.

I think whether one gets the above impression from the film will largely depend on where you
are starting from. If you are a flag waving, fox news watching imperialist then the film would probably shock you intensely. Ironically, that demographic is also the least likely person to see this film. The film tries (and somewhat succeeds) to tow the middle ground – showing that just as Al-Jazeera have an agenda – so too certainly do our American Networks. Much of the most open journalism I’ve read about the ’situation/invasion/liberation(?)’ of Iraq comes from Australia and Europe. The film should hold something for everyone.

The film centres around the moments from the 48 hour warning afforded by Bush to Iraq after the U.N. security council was overruled through to the initial weeks of the troop movement into the country. Al-Jazeera seems to be very much in the media game, no less so than FOX/CNN/MSNBC – the spin factor applies on both sides of the equation. The common denominator (those truly affected by the hostilities) is the piece we are left to ponder as usual. The most interesting part of the film is where a US Marine spokesman who is meeting on a daily basis with a Al-Jazeera reporter – trying to manage damage control, semantics and to his credit – find some commonalities.

It’s a film that asks more questions that it answers. It now being 2007 we obviously can see the decisions made in real time were premature. Particuarly the bold statement of Iraq being under control the battle is over and won’ by GW all those years ago.

Sadly, the most natural way we could even begin to understand the media of the Arab world (which may or may not represent its viewers) would be to see it. That of course is not going to happen.

A good film, not a great one, it is one of the few chances on the market to see the other side of the coin in what has become the legacy of this decade.

Favourite line “Did he work for the BBC?” ‘yes’ “Ahh..ok….everyone from the BBC ends up working for Al-Jazeera later”. Also, someone said – let’s just give everyone an American passport and then this can all stop.

Business is business I suppose. The DVD is for sale on the site if you want to see it !

Cheers

Radiohead – The Bends – revisiting a classic album

In light of Radiohead releasing a new album this month I decided to revisit and review what may have been the most straightforward Radiohead album ‘The Bends’ – the band’s second release from 1995.

Immediately I was struck by the fact that 12 years had passed and that the landscape for Indie Rock, Alternative, Britpop (call it what you will) has changed so much since then. I saw Radiohead live first in 1993 supporting James at Brixton Academy in London. Hindsight being 20/20 should make me say “Oh I saw the potential blah blah blah” but in truth I was not overly impressed or even interested. Partially because the debut album Pablo Honey was pretty formulatic for a debut and live the band were shoegazing (they were from Oxford after all) and fairly nervous. Coupled with the fact I was there to see James (who were excellent) and wasn’t thrilled about waiting through a support act.

Fast forward 15 months or so – the moth turned into a butterfly. ‘The Bends’ was such a stirling seachange in sound, scope and ability that I was hooked. Preceded by the single ‘Fake Plastic Trees’ I recall buying the CD the day it was released and being very impressed, especially after the first album. Over a decade later and via countless listens and sharing of the album with others it stands up incredibly well to the cruelest thing music has to weather – the passing of time.

So often when we listened to a disc from the 90’s or 80’s the first thought is ‘good songs but the production ruins it’ or ‘what were they thinking’ – no such distress with this album. From the opening attack of ‘Planet Telex’ the album signals its arrival – a loud and positive step into what became a huge record for a band on their way to becoming indie darlings of ‘95-’99.

Thom Yorke’s voice on the 2nd album has become the central point for the band by the time of this record and it still sounds (for me) to be at it’s pinnacle with The Bends – not matched subsequently. Track two – ‘The Bends’ has remained for me one of the strongest openings to a track ever – John Leckie’s production of the soft/hard blend that became a staple of Radiohead songs. The double tracking of electric and acoustic guitar on this track and others on the album is another prominent feature. Choppy guitar interlaced with a swirling chorus takes the song to it’s strength (and a rarity) the best part of the song is the bridge. Yorke’s semi-rap propels the song to the sing along coda of “I want to live, breath, I want to be part of the human race” (a wee bit melodramatic but at that age I felt the isolation too…sure..!).

Two singles follow – the vaguely traditional High and Dry followed by the stellar Fake Plastic Trees. Both songs have great atmosphere – I always felt High and Dry was the kid brother to ‘Fake Plastic..” as both songs are similar if vaguely faster on the former. High and Dry has some great acoustic work on top of more choppy punctuation by J Greenwood.

I’d moved to the States when this album became big and I remember
1. Everyone feeling ‘Creep’ was written for them (perhaps it was – we don’t even use the word Creep in London – yes…you wish you were special…I know)
2. The video for ‘Fake Plastic Trees’ seemed to stick in people’s memories more than the song
The second is a pity as FPT has some of Yorke’s best vocal tics – all the way down to the last bar of a wonderful song.

Back to the disc, ‘bones’ is a reverb heavy number that builds to another thrashing chorus. A great song live if memory serves me as it’s wreckless chorus is allowed more room to pulse. A great riff and Yorke’s semi yodel mark this song out as a ’shoulda been bigger’ but it’s great nonetheless. “Nice Dream” is by name and sound very much in a lullaby vein, a pretty song with a tempo that just ferries you to a calmer place. It also features some lovely cello and a bit of viola (my non classical ears even grasped that). One of the few songs that feature backing vocals that add great depth to the latter part of the song.

“Just” is maybe the strongest link to the first album in sound – and I think is the only disposable song on the album. I just (sic) think it’s one of those songs that ‘tries too hard’ which is a pet peeve of mine. Whereas the rest of the record feels like part of a bigger whole ‘Just’ is too spikey and contrived. My Iron Lung on the other hand could be seen as a harbinger for what Radiohead would become on OK Computer. Huge arrangements and intricacies make you listen intently as the song never goes quite where you expect it to…which is excellent.

The last four tracks on the album have their own environ in my opinion as what was pretty much a rock/singles album becomes a lot larger and more thematic. Beginning with Bullet Proof the album goes to a different level. One of the first Radiohead songs that plays with the ‘less is more’ theory, the very acoustic track with heavy background noise by Greenwood is as beautiful now as when I first heard it all those years ago. Black Star has an opening that fools you into expecting another loud ‘rocker’ but then segues into another gentler number which showcases Yorke’s ability to make his voice the lead instrument. A great song that still sounds fresh as a daisy. ‘Sulk’ is a song that I would have really like to have been an instrumental so you could hear the bassline more clearly. It’s got wonderful guitar/bass overlays and I think it really is a song that it somewhat drowned in the vocals. Has there even been an instrumental version? I must find out.

The album closes with ‘Street Spirit’ which then (as now) sounds like something you first heard when you were 3 years old. So ingrained is the natural chord progression that I’ve wondered for years whether the song was ‘borrowed’ from elsewhere or if it simply is just that good. Perfect film score music – so long as the film is good.

So there we have it – a near masterpiece. It was one of my favourite records of the mid nineties and pleasingly still sounds vital today. That’s a lot more than can be said for many records of this vintage. If you don’t own it…well…you should. (I’ve a copy for sale in my online shop). Oh yes..I saw them live in ‘95 (and since) also – they improved!!!

Cheers

Tim

Earlimart – Live 10/22/2007

I was excited at the prospect of seeing Earlimart play live again on the strength of both previous shows but also what I consider to be their strongest album to date “Mentor Tormentor”. To this end I headed down to The Paper Heart on Grand Ave in Phoenix.

The Paper Heart is an art gallery that hosts shows from time to time, it seems they have a new booking agent so hopefully more acts will be coming through this year. I’d read that Earlimart had included a string section on previous tour dates, so when the band pulled up (nearly running my friend and I over in the car park having a sneaky beer) I was a little shocked to notice the five members and no sign of a string section onboard (unless it was a magic fan). Singer/writer Aaron Espinoza apologized to us as he stepped out of the van “Didn’t mean to sneak up on you guys like that”. Funnily enough that somewhat descibes Earlimart’s music. Some songs do sneak up on you gently and then suddenly you are caught up in the greatness of the layers within the song.

Anyway, the show kicked off with the slowly building ‘Fakey Fake’, gentle strumming leading to great percussion as the song builds a head of steam. Immediately thereafter ‘Answers & Questions’ also from the new album – and this is Earlimart at their best – a great mix of swirling (keyboard) strings and live the song grows to an even stronger wall of sound than the recordered version. The band were bugged by a few sound issues and tech problems during the show but the early part of the show featured the backing vocals/duets by Ariana Murray that set Earlimart apart from other bands. I also enjoyed Ariana’s bass playing as her work with the drummer set the tone for a very tight rhythm section. A few tracks from 2004 album Treble and Tremble (including the superlative Heaven Adores You) followed before Murray switched to piano.

Here followed my only frustration of the evening (no fault of the band) I think the opening chords to ‘Happy Alone’ were played when it appeared the piano/microphone were not working correctly so the song was aborted. The aforementioned song is one of the best on the new album and was a shame to miss it live. Aaron kept his nerve and lamented the ups and downs of the tour so far but got things back on track with ‘Everyone Down Here’ and ‘We Drink on the Job’. Again, the guitar work is much more frantic live and gives the songs another dimension. Another strength was a working of ‘Just Because’ that captured the piano / vocal interplay at its best.

It was great to see Earlimart once more, I think it’s shameful that they are not getting the larger success the music merits but I also think that the undeniable quality of the band continues to grow. It’s just a matter of time – filet mignon always beats ground round. If you read this and wondered how to find out more – visit the bands site

Better still – arm yourself with some of their records – and then play them to your friends!!

Thanks for coming to Phoenix again.

Tim

Something new in Phoenix – Revolver Records

Never too proud to discuss (promote) the competition – I ventured into the recently opened ‘Revolver Records‘ in Phoenix this week. Nestled on 7th Avenue just N of Indian School and near the continued bombsite that is a light rail network being built, Revolver occupies a free standing (house?) building on the West side of 7th.

First impressions, make the parking options clearer. Having almost been trapped in his neighbours alley I then learned there was some limited parking behind the store. The lot is dirt, normally not an issue as it hardly rains here, when it does though he may rethink that. (People who have been to First Friday/Modified/Roosevelt during a monsoon know the fun that brings). The front entry brings you into a real house – and by Phoenix standards an old one. The shop is three main rooms with the till area and entryway being the biggest room.

Revolver has a HUGE selection of vinyl, covering all genres of music. Great prices!!
Though some rarities are priced accordingly the bulk of the inventory is hugely affordable. In addition some great prices on CDs/DVDs and Books exist. The whole shop has a great vibe, very positive, very friendly and clearly non-corporate. My general impression was the shop has a constant flow of new stock (just like my shop!) and would be worth frequent visits as it seems to be growing (again like me…well my shop anyway). The staff were sincerely friendly and I hope the shop does well. A great addition to the area.

I was impressed by the huge variety of vinyl on sale…I hope more CDs/DVDs are added soon. Hey Revolver…wanna buy my old music magazines??

Cheers
Tim

4214 N. 7th Ave

Phoenix, AZ 85013

Billy Bragg / Jail Guitar Doors project

One of the more worthy & interesting projects I’ve heard about recently was founded by Billy Bragg. The Jail Guitar Doors project provide instruments (guitars of course) for use by gents/ladies staying at “Her Majesty’s Request” or as you might say in the States – inmates/prisoners.

Far more worthy then a counselling session or sitting in front of TV the plan is to provide inmates with custom made guitars. The instruments were designed by Bragg and feature famous lyrics by The Clash. The goal being helping to find a positive source of release for inmates. The project has been drawing plaudits throughout the UK and it would be great to see an artist doing something similar here.

In addition philosophy football are offering shirts with The Clash logos and limited edition sets of postcards. The ‘Riot Of My Own’ set contain some of the same images that appear on their range of T shirts which also benefit Jail Guitar Doors: Hate and War, Garageland, English Civil War and London Calling designs. Plus International Brigade banner, Rock against Racism and Hope not Hate.

To get your free postcards, send your name name address to admin@philosophyfootball.com – ask nicely and they will send them to the US !!

Lastly, Billy’s gig at this year’s Labour Party Conference saw £3,500 raised by raffling one of the Jail Guitar Doors-decorated acoustic guitars. Money from the raffle was supplemented by donations from the GMB, the National Union of Mineworkers, Thompsons Solicitors, and, in a welcome show of support for our initiative, the Prison Officers Association, who donated £500 to the cause.

Cheers