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the guardian G2 - Friday, 01 Jun 2012

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the guardian G2 - Friday, 01 Jun 2012
Friday 01.06.12
Lost in Showbiz
Peter Robinson
John Lydon
‘I don’t believe in anarchy’
Peter Bradshaw
This week’s fi lms New Beach Boys
Alexis Petridis’ verdict Sam Wollaston
Britain’s lost routes
“Dz zling”
David Grit en, DailyTelegraph
In Cinemas Now
Focus Feat es
and Indian Paint ush
Present an American Emp ical
ct e “Moonrise Kingdom” Casting by Douglas Aibel
Co-Producers Molly Cooper Lila Yacoub
C tume Designer Kasia Walicka Maimone
Original Music by Al andre Desplat
Music Supervis Randall P ter
Edit Andrew Weisblum
,ACE Production Designer Adam Stockhausen
D ect of Photography Robert Yeoman
,ASC ecutive Producers Sam Ho man
M k Roybal
Produced by Wes Anderson Scot Rudin Steven Rales Jeremy Da on
Writ en by Wes Anderson
& Roman Coppola
D ected by Wes Anderson
“Anderson’s fi nest and funniest since Tenenbaums”
Total lm
“Sm t, moving and funny”
qu e
“Loved it from beginning to end"
The Times ★★★★
Daily Telegraph
Emp e
Time Out
“A Masterpiece”
Andy Lea, Daily St Sunday
“He t-meltingly perfect”
Time Out
“Funny and bi ersweet”
Emp e
The Sun
Daily Mail
Gu dian 12a
Contains moderate s references
01.06.12 The Guardian 3
30 minutes with … John Lydon
The former Sex Pistol on rejecting anarchy, maintaining a happy marriage and reviving PiL
Hello, John. What’s the view like there? (1)
I’m looking over the rooftop at the ocean. I like America’s diversity and its land-
scapes. They haven’t done a Southend or a Blackpool yet, but they’re working on it. Which is a good thing . I like Black-
pool’s working-class, couldn’t-care-less sensibility. It’s just very hard to deal with the drunken women. “Hello, do you know I’ve got no knickers on?” Yes, I do. You’re singing a lot about England on the new PiL album (2), even though you have lived in the US for three decades. Do the boarded-up shops of recessionary Britain remind you of the country you left?
I hope not, that was a dreadful place. I was banned everywhere (3). I no longer have that feeling about England that things will be there for ever. Pubs are great social centres but they’ve been replaced by wine bars that are cold and expensive. All these alleged rough-
house communities – like Yorkshire and Glasgow – have always been friendly to me. They are my people . All the supposed hellholes. I do well in hell.
Does living in the US give you an anonymity you had lost in the UK?
I’m in England so often I haven’t really left. But Americans aren’t at all like they are misrepresented through their poli-
ticians. The only good political movement I’ve seen lately was Occupy Wall Street. They had no leaders, which was genius. But unfortunately it always ends up with some hippy playing a fl ute.
Is Occupy a taste of the Anarchy in the UK you foresaw in 1976?
I don’t believe in anarchy, because it will ultimately amount to the power of the bully, with weapons. Gandhi is my life’s inspiration: passive resistance. There’s a line on the single, One Drop: “We come from chaos.” Is there a bal-
ance – are our lives too ordered now?
The structures that successive govern-
ments are trying to place on you are defi nitely to the detriment of creative thinking, and they’re leading to all kinds of fake usurping of that agenda, like teenagers binge drinking. Drinking until you’re crawling around in your vomit isn’t much of an achievement, but I’m empathic to them. It’s a form of rebellion. You can accept these foolish ways or utterly reject them. And I reject! Been in jail a few times. Accidentally, I assure you.
You famously weren’t arrested at the jubilee boat party (4). How come?
I got away with that because the police stupidly asked me: “Which one’s Johnny Rotten?” I fi ngered Richard Branson.
When was the last time you had bother with the rozzers?
They kept an eye on me at my last visit to Wembley – Arsenal v Birmingham. They told me to sit down. I said: “We’ve all got haemorrhoids. Unless you can provide haemorrhoid pillows, we’re standing!”
You’ve had a very long marriage (5). What’s the secret?
Don’t make decisions lightly and, when you do, know it’s the correct one. When you row, after you’ve gone through the angry bit, take the argument into the realms of the absurd. Then the humour comes back and you know you’re back on the right path.
You famously described human reproduction – sex – as “two minutes and 52 seconds of squelching”. Does it get better with age?
Hang me for my loose lips. I’ve learned new techniques. When you’re young, you’re shy and nervous. Probably entering the wrong hole half the time.
You didn’t make much music for years, but now you’re very active again, with PiL. What were you doing?
Well, a lot of activity was undercover. Also, Ariane’s (6) kids came to live with us when they were 14, so I took to the parent-teacher association meetings with glee. Kids of my own? We had a couple of tragedies when we were younger, so it was off the agenda and we had to live with that. You have occasionally performed with the pre-Sid, Glen Matlock Pistols lineup, but have never made any new music.
I can’t write for the Pistols. Emotion-
ally, I’d be imitating myself, so respect it for what it was. Any new ideas go into PiL. What’s been your biggest battle in life?
Teeth (7). I’ve learned to use a tooth-
brush. All my early childhood, I thought a toothbrush was something my dad used on his work boots. A lot of ill health came from neglecting my teeth. So Johnny says: “Get your brush!” Or you could end up like me. Which isn’t a bad thing after all.
Foot notes (1) Lydon lives in Los Angeles. (2) Their fi rst album for 20 years, This is PiL, is out on PiL Offi cial. (3) In 1977, the Sex Pistols had to tour under a pseudonym, the Spots (Sex Pistols on Tour). (4) The Pistols launched 1977’s single God Save the Queen by sailing past the Houses of Parliament. (5) To Nora Foster, for more than 30 years. (6) Nora’s daughter from a previous union, AKA Slits singer Ari Up, who died from cancer in 2010. (7) John got the nickname Johnny Rotten on account of his poor dental hygiene.
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So J
By Dave Simpson
4 The Guardian 01.06.12
Lost in Showbiz
Poor Chantelle. She just wants to have her baby with fi ance Alex Reid, but then has to deal with his marathon cross-dressing solo sex sessions
s fl at denials go, “Haha-
haha!” isn’t really up there with, say, “There is no truth whatsoever to this story.” But we should know by now never to underestimate cage fi ghter, stripper and – with a new single and furniture range on the horizon – popcultural polymath Alex Reid. In fact “Hahahaha!” is just one of the highlights from Reid’s latest statement.
“It’s such a funny, funny story, hilarious in fact!” he solemnly noted on his website last week. “Hahahaha! We were rolling around on the fl oor laughing, hahaha!” The statement concludes by signing off : “Brilliant stuff , next!!!!”
What is he denying? Well, it’s the classic story of heavily pregnant woman – in this instance the fragrant Chantelle Houghton – arriving home early from a tooth-whitening launch party to discover her fi ance, dressed as his female alter-ego Roxanne, in the middle of a marathon solo sex session.
An insider of one sort or another told New! magazine this week that Reid “was indulging his fantasies” – the mind boggles, particularly since even Jordan once claimed to be alarmed by Reid’s “issues” – “and there were sex toys in the house”. Houghton described Reid’s eyes as “wild and scary”, which prompts a minor blip on the euphemismometer, but the main point, buried in the copy, is that Reid remained in the house, by himself, for a further four days. Whichever way you look at it, th ere must have been chafi ng, although as feats of endurance go it’s still nowhere near the grim challenge posed by the harrowing 3:47 duration of Reid’s debut single Stardust .
Mercifully, New! magazine’s cover-
age of Chafegate does not end with its three-page cover story. Turn the page, and it’s Chantelle’s Pregnancy Diary, which includes a box headlined “Sorting things out”. Addressing claims (on the previous page) that she had moved out of the fl at, she notes: “It’s nice that by
h s
An insider said that Reid ‘was indulging in his fantasies’. The mind boggles
Chantelle Houghton with Alex Reid. Is there room for Roxanne in this relationship?
By Peter Robinson
lyrics and produced music to suit your voice,” off ers Richard. “Exactly,” decides Alex.
Things come back to the matter in hand, as it were, at the end of Reid’s interview, with a question about why Chantelle left him. “We’re not answer-
ing that question,” Richard helpfully announces. This is an opportunity for you to give your side, off ers New! journalist Patrick Strudwick. “No comment. It’s an irrelevant question because it’s not valid,” Richard confusingly decides.
Celebrities turn on each other so frequently that we’re quite familiar with the spectacle of couples playing out their lives, their loves and their squabbles in the pages of magazines, but it’s hard to recall a similar instance of the story unfolding across successive pages of the same magazine. It is disap-
pointing, really, that New! allows this particular storyline to end on page 13. people care, but I don’t really want to talk about it.” But what about Reid’s statement? “Alex has released a state-
ment about cross-dressing,” Chantelle accepts, adding helpfully: “but I don’t want to comment on that either.”
It’s a bit like a real-life version of Viz’s letters page, with a missive on page 10 furiously disagreeing with the letter writer on the previous page. But that, surely, is the end of that? Not quite! Turn the page again and there’s a riotous full-page interview with Alex himself. Also present in this interview is Reid’s “PR man Richard”, who helps Reid when he gets stuck. At one point, Reid is discussing his musical collabo-
rators, who inexplicably opt not to go under their real names, but under the pseudonym of Shelter. “Help me out here, Richard,” Alex says. “How do I explain Shelter?” “Shelter are writers and producers who have worked with you on the 01.06.12 The Guardian 5
If you had been involved with The Voice, with its miserable, atmosphere-
free live shows, ratings that have more than halved in the space of a month, and the long, slow limp towards tomorrow night, when the BBC airs its least-anticipated fi nale since the fall of Eldorado , you would probably have encountered enough negativity for one month. That certainly seems to be the case for serious-faced Lycra apologist Jessie J, who is so bored with the whole coaching business that she has been running her own spoilers on Twitter . At one point she even described The Voice as “lame”, which is harsh indeed from the woman who said her experience with a broken foot gave her “a diff erent respect for people who don’t have legs” . Enough was enough for Jessie on Wednesday. “Don’t wanna see any negative or moany tweets on my timeline any more,” she declared . “I’ve decided Jessie J is positive she’ll unfollow any negative tweeters
Let it reign, ma’am, says loyal Gary
On the web
Participate in these important debates
it’s a straight #unfollow if I do.”
On the surface of it, this is a reason-
able declaration of war on negativity: the Voice-related woes must be bad enough, but all the more distressing when combined with Twitter’s resident tsunami of snark. Monitor the @-replies of most celebrities and it’s hard not to agree that a blocking spree is the best route. There’s the now- legendary incident of Cher Lloyd tweeting the cheery message, “Its mamma lloyds birthday!!! Love you mum! Xxxx.” Apostrophe crimes off end us all, but it was a bit strong when Lloyd was rewarded, within minutes, with : “shut the fuck up before I kill your mum in front of you.” In reality, most responses are less outré, but it’s the relentlessness of the negativity, usually in response to quite upbeat announcements, that grinds celebrities down. “SO?” is a particularly popular retort, along with the classic “yawn”. “WHO CARES?!?” is a peculiar favourite among those who have chosen to follow celebrities. So blocking strangers is understand-
able, but Jessie J’s intended moan supression takes things a step further. She’s saying that of the 727 people she has chosen to follow – fans, Gary Barlow, Lulu – nobody should tweet negative thoughts. In Jessie J’s world there will be only happiness. Cocooning oneself is a standard celebrity defence mechanism but Jessie’s sadface siege mentality recalls BBC news reader Martyn Lewis with his twee 1993 demand that television should show more “good news”. The world, unfortunately, is a terrible place full of death, destruction and’s jackets, and Jessie J could be doing herself, and her career, some serious harm by turning her back on reality. With the Jubilee just days away, perhaps now’s the time to refl ect on the depth of Gary Barlow’s love for Her Majesty, and his ongoing quest for a knighthood.
Gary’s love aff air with the Windsors comes to a head this weekend with what we might term Glasma’ambury, a Barlow-
curated musical extravaganza that’s rumoured to kick off with Shirley Bassey atop Buckingham Palace belting out Diamonds Are Forever – a reasonable start – but also threatens Ed Sheeran, so at least there’s a toilet break.
“She’s surrounded by this powerful aura,” the Open Road hitmaker says of the Queen , “but it’s an aura that feels warm, good and nice. I’ve met some powerful people in my life and there’s often a darkness you get with power. Not with the Queen. You never get the feeling that she has abused her power.” He was even more scathing in February, snorting dismissively: “I love the monarchy and the Queen.” He’ll be disappointed with anything less than a CBE, won’t he?
One half expects the Coronation Street preview, which begins: “Weddings rarely go smoothly in Weatherfi eld,” to be interrupted by Chantelle screaming: “BUT AT LEAST NORIS DOESN’T TURN UP IN FISHNETS!”, or for the horoscopes page to off er up some thinly veiled advice to Reid. Mind you, it doesn’t take a psychic to predict that of the three people in Alex and Chantelle’s forthcoming marriage, it’s Roxanne who will dominate the headlines.
Read Marina Hyde on the Olympics, main section, p18
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Jessie J: don’t you dare be negative!
6 The Guardian 01.06.12
Written by
Adam Boult, Michael Cragg, Tom Ewing, Michael Hann, Simon Hoggart,
Nosheen Iqbal, Tim Jonze, Paul Lester, Caspar Llewellyn Smith, Dorian Lynskey,
Malik Meer, Peter Paphides, Alexis Petridis, Peter Robinson, Jude Rogers, Jon Savage,
Dave Simpson, Bob Stanley, Caroline Sullivan, Richard Williams, Kieran Yates
GROOVE! Never mind the jubilee – it’s also the 60th anniversary of the singles charts. Since 1952, hundreds of No1s have soundtracked our lives. Here, Guardian critics pick their favourite from each year ...
01.06.12 The Guardian 7
Since the fi rst singles chart in November 1952, the UK has seen more than 120 million-selling singles – the fi rst of them being Bill Haley’s Rock Around The Clock in 1957.
Here in My Heart Al Martino
The best No1 of 1952 was Here in My Heart, by dint of its being the only No1 of 1952. Had the fi rst hit parade been published a few months earlier, Al Mar-
tino could have had competition from Johnnie Ray ’s Cry or Nat King Cole ’s Unforgettable, but instead we’re tied to this rather heavy-handed, poper-
atic piece which held the top spot for nine weeks. Martino’s one neat trick is to switch from a roar to a tearful near-whisper within the opening line. Beyond that, it is quite a struggle to work out why it was so big. Here In My Heart was released in Britain only on 78, and the best way to unravel its mysteri-
ous appeal is to listen to it on a gramo-
phone rather than an MP3 player. BS
You Belong to Me Jo Staff ord
Jo Staff ord became the fi rst female vocalist to have a UK No1 with her take on this much-covered ballad ( Dean Martin’s version reached No12 in the US chart a few months earlier). Delivering a nigh-on perfect vocal performance, she insists that, wherever her globe-
trotting sweetheart may travel to (“See the pyramids along the Nile/See the sun rise from the tropic isle”), he had sure as hell better remember who he belongs to. With its references to far-fl ung locations, Staff ord’s lilting vocal and a subtly seductive arrange-
ment by Paul Weston (who was busy wooing the singer at the time), You Belong to Me remains three minutes of woozy, exotic escapism – the perfect antidote to the drudgery and austerity of everyday life in 1950s Britain. AB
Let’s Have Another Party Winifred Atwell
It’s the oddest records that break new ground. Take Let’s Have Another Party – a pleasant but unspectacular medley of music hall hits, played in ragtime and given a curious honky tonk treat-
ment. Its importance lies outside the grooves, though. This was the fi rst No1 by a woman instrumentalist, and it was the fi rst by a black artist – Atwell then known as the Beat Girls – appeared on Dickie’s 1966 BBC series.) BS
Why Do Fools Fall in Love? Frankie Lymon and the Teenagers For many young listeners in 1956 Brit-
ain , Why Do Fools Fall in Love? was the fi rst record that sounded as if it had been made by teenagers for teenagers: it was a blast of doo-wop straight from the streets of Harlem, sung with irresistible energy by the juvenile delinquents who had written it. At 13 years old, Lymon was the Michael Jackson of his day, and his manager soon detached him from the group and launched him on a solo career. But he came from a hard background: “In my neighbourhood, there was no time to be a child,” he said. A heroin user at 15, he died of an overdose at 26, a veteran of several failed comebacks. And where did the royalties go? Don’t ask. RW
That’ll Be the Day The Crickets
Everyone needs to start somewhere, and this was the song that a group called the Quarrymen fi rst recorded, as a demonstration disc, the following year, shortly before they morphed into an outfi t called – with a punning nod to their forebears – the Beatles. And the co-author of That’ll Be the Day , Buddy Holly, was also a huge infl uence on Bob Dylan, who watched him perform live – from 3ft away – three days before his death together with Ritchie Valens and the Big Bopper in that famous plane crash . In a small way, Holly’s music was a beginning for me, too, growing up in a household where Dylan , the Beatles and Buddy were played. And even now, there’s something about That’ll Be The Day – with what’s almost its punch-
line, “when I die …” – that sounds both more poignant and fresher than anything else. CLS
Hoots Mon Lord Rockingham’s XI The XI were a mixed-race, mixed-gender jazz outfi t put together as the house band on pioneering pop show Oh Boy! .
By some accounts they weren’t happy with the material they were handed, in which case Hoots Mon might have been a cathartic kind of revenge. It has one of the great No1 intros – a mighty, primitive blurt of brass, a thuggish Hammond fl ourish and was Trinidadian, and became one of the fi rst black musical superstars (in the Commonwealth, at least; she broke box offi ce records in Australia). What’s more, Let’s Have Another Party was engineered by Joe Meek [see 1963] , though we’re still a long way from the bedsit sci-fi of his great productions. Here, though, was proof you didn’t need to be a white man to play an instrument for a mass audience. MH
Finger of Suspicion Dickie Valentine
British pop’s forgotten pin-up, Maryle-
bone-born Dickie Valentine, scored two No1s in 1955. Finger of Suspicion is a charming, three-minute chat-up line, and a classically smooth piece of pre-rock with a marshmallow jazz back-
beat, warm post-swing brass and back-
ing vocals from Goon Show regulars the Stargazers; his second No1, Christmas Alphabet , knocked Rock Around The Clock from the top, but the bells were tolling. Valentine’s star dimmed fast when he failed to adapt to rock’n’roll (despite a brave stab at Dion’s Teenager In Love) and he died in a car crash, trav-
elling between gigs, in 1971. (Obscure fact: an early line-up of Pan’s People – 1952–59
My favourite No 1
David Nicholls Author
Nothing Compares 2 U Sinéad O’Connor 1990
What’s it going to be, Partners in Kryme with Turtle Power or Jive Bunny with Let’s Party? No 1s rarely represent the best in pop music, any more than the Oscars represent the best in fi lm, but they can still snap you back to a time and place. I was in New York when Nothing Compares 2 U came out, my fi rst time outside of Britain, living in a tiny miserable room on 73rd St that was dark enough to develop photo-
graphs. I was, I think it’s fair to say, a little lonely and homesick, and this song provided my soundtrack for stomping emotionally around Central Park in a very long overcoat. (Cassette single was my format of choice.) Listening to it now, the synths sound a little synthier than I remember, and the snare-drum sound hasn’t aged well either, but I still like the almost embarrassing emotionalism of it, the way the sentiment is shouted and snarled rather than cooed and warbled. 120
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‘Three minutes of woozy, exotic escapism’ … Jo Staff ord’s You Belong To Me
Al Martino … Here In My Heart was the only No1 hit of 1952
8 The Guardian 01.06.12
the band humming like angry monks. After that it barely calms down, swinging as hard as any rock’n’roll while sprinkling a bit of Scots busi-
ness on top for a hook. Novelty dance records are a constant in the British charts – 50-plus years on, this remains the greatest. TE
Dream Lover Bobby Darin
Bobby Darin – born Walden Robert Cassotto in the Bronx – may have looked like a junior-league Frank Sinatra. But when you heard Dream Lover you knew that you were not hearing a product of the old Tin Pan Alley, the source of material for the previous generation of croon-
ers. Written by Darin himself, a schooled musician who played piano, guitar and drums, it was a perfect example of the genre known as the rock ballad : a slice of pure pop mu-
sic, its simple melodic and harmonic hooks laid over a lilting Latin beat, its lyric dependent on a single strong idea. But within the year the Sinatra tendency would gain the upper hand as Mack the Knife propelled him out of the high-school prom and into the supper club. RW
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Apache The Shadows
Away from Cliff Richard, the Shadows ’ streamlined instrumental pop was the height of modernity. More than any other pop star, they made music that was a mirror to a post war genera-
tion raised on adventure stories and westerns . Of all their hits, Apache remains the biggest, both in terms of sales and infl uence, prompting the likes of Jimmy Page and Brian May to get serious with their guitars. Its infl u-
ence even extends to hip-hop. The Incredible Bongo Band ’s widely sam-
pled cover of the song was adjudged by rap pioneer DJ Kool Herc to be “the national anthem of hip-hop”. PP
Johnny Remember Me John Leyton
Thanks to Telstar , Joe Meek is seen as British pop’s fi rst great futurist, but the vibe of this Meek production reaches back into our fog-struck, ghost-ridden past. It’s an urgent Gothic romance , with Leyton ’s vocal clutching at your sleeve, desperate to tell a story of loss and madness. Meek turns the drums into phantom horsemen and fi lls the record’s dark spaces with melodrama . Pure corn, perhaps, but sold with a dread conviction, which makes this the weirdest and most gripping British record to hit the top yet. TE
I Can’t Stop Loving You Ray Charles
It is hard to recall the impact Ray Charles’s version of I Can’t Stop Loving PHOTOGRAPHS MICHAEL OCHS ARCHIVES; GETTY: REDFERNS; BOB THOMAS
You had half a century ago. Charles was already the funkiest, bluesiest, coolest name in the pop charts, with R&B hits such as What’d I Say, One Mint Julep, and Hit the Road Jack . For him to record Don Gibson ’s 1958 B-side was as extraordinary as Florence Welch tack-
ling the Vera Lynn songbook. Country was white-trash music that catered for trailer-park people.
Winifred Atwell, the fi rst black artist to get to No1 (above); No Tin Pan Alley act …
Bobby Darin 01.06.12 The Guardian 9
It was the main song on Charles’s album Modern Sounds In Country and Western Music . It spent an astonishing fi ve weeks at No1 in the US and hit the top of the British charts too. For many, it legitimised country music , which, like the blues, required soulful singing and a good dose of misery. There was never a country or blues song about a faithful woman or a well-paid job. SH
From Me to You The Beatles
1963 saw the Beatles ’ breakthrough and you can hear the mania in almost everything they recorded that year. Sandwiched between the fi rst big hit (Please Please Me) and the fi rst impe-
rial moment (She Loves You), From Me to You is almost forgotten and so is undimmed by overfamiliarity. It’s all about the record: From Me to You remains an authentic distillation of sheer euphoria, with powerful harmonies, strange chords, tricksy changes, bluesy vocals and the fi rst appearance of those startling, camp “oohs”. It was also the Beatles’ fi rst offi cial No1: it stayed at the top for most of May and June and made it clear that this was something unprec-
edented and unstoppable. JS
Baby Love The Supremes
The year that Beatlemania took over the world wasn’t just about men with moptops. The girl group, all sparkling vocals and shimmering X chromo-
somes, was also reaching its fi rst, dizzy peak. Baby Love began life as a copy of the Supremes’ previous hit Where Did Our Love Go? (note the same tin-
kling pianos and “baby baby” backing vocals) before Motown songwriters Holland-Dozier-Holland accidentally struck gold. It starts very sweetly, Diana Ross’s vocal sounding tenta-
tively optimistic, even though she knows she is losing her lover. After the key-change, however, someone else emerges: a young woman knowing that “loneliness has got the best of me”. As a teenager, this lyric stung me; as a grown-up, it propels me back. In Baby Love’s beauty and crushing sad-
ness is the pivot between childhood and adulthood. Pop’s soul lives there, too. JR
Get Off My Cloud Rolling Stones
A lot of reactionary-sounding music My favourite No1
Zawe Ashton Actor
Black or White Michael Jackson 1991
I’ve made myself not go for the record that would give me most cool points, but the one that felt the most nostalgic : Black or White by Michael Jackson. I was only seven, but I can recall its notoriety so vividly. The playground was buzzing . Here was a man singing about not discriminat-
ing, yet his appearance was becoming more and more caucasian . However, I was on MJ’s side. And w atching the video and seeing kids my age of diff erent races rap-miming “It’s not about races, just faces, where your blood comes from, it’s where your space is” was awesome . The biggest-selling single in UK chart history is Sir Elton John’s Something In The Air Tonight/
Candle In The Wind, which has sold 4.9m copies since its release in August 1997. made No1 in 1965: the antiseptic folk of the Seekers (twice), the admit-
tedly exquisite easy listening of Jackie Trent’s Where Are You Now My Love? , Elvis Presley’s schmaltzy Crying In The Chapel and Ken Dodd’s Tears . Here’s what a certain kind of record buyer was reacting against: the sound of the Roll-
ing Stones ’ songwriting fi nally catching up with their public image. An early example of the surly whatever-you-
say-I-am-that’s-what-I’m-not response to success, it was unquestionably the most pissed-off sounding No1 to date , its fi zzing misanthropy – “I was sick and tired, fed up with this” – amplifi ed by the distortion of Andrew Loog Old-
ham’s slightly cack-handed production job. Somewhere behind Mick Jagger’s snarling complaints about advertis-
ing, the forces of authority – or at least traffi c wardens – and neighbours de-
manding he turn it down, you can hear the sound of the generation gap being wrenched open. AP
Reach Out I’ll Be There
Four Tops
The drums send out signals to the dis-
tant damsel in distress, the woodwinds pine in empathy, and then Levi Stubbs rides in on a white horse, reaching down, pulling the girl from the swamp. Soul has many screamers who over-
emote but Stubbs is always entirely believable. Usually Four Tops songs found him standing in the shadows on a lonely street, but on Reach Out he got to be a hero for once. It was fol-
lowed at No1 by Good Vibrations ; in a way, they are the ultimate No1s. Both records condense so much, deftly mix-
ing so many genres and new sounds inside three minutes, that you can only marvel at how it must have felt to hear them on the radio for the fi rst time. BS
A Whiter Shade of Pale
Procul Harum
If any one song sums up the sense of limitless possibilities that suff used English pop music in the mid-60s, when its exponents felt joyously free to decorate their creations with bor-
rowings from the ancient past and an imagined future, it is A Whiter Shade of Pale . Coming out of nowhere, the fi rst release by an unknown band, it skipped across centuries with its infal-
libly seductive Bach-goes-to- Muscle Shoals organ lead and chord progres-
sion and a wonderfully dippy lyric that could be taken to mean anything or nothing, seemingly constructed ‘The pivot between childhood and adulthood’ … The Supremes’ Baby Love; (below) Mick Jagger
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10 The Guardian 01.06.12
1970 Bridge Over Troubled Water Simon & Garfunkel Bridge Over Troubled Water may not have been the fi rst No1 of the 70s – it was preceded in the UK by Edison Lighthouse’s Love Grows (Where My Rosemary Goes) and Lee Marvin’s Wand’rin’ Star – but it felt like it. Released in the wake of the Manson murders, the death of Brian Jones and the slaying of a black man at Altamont , it had the quality of an elegy. The opening words (“When you’re weary”) spoke of disturbances past and prom-
ised succour for dramas yet to come . PL 1971
Get It On T Rex Get It On was as much a sign of the musical times as a blast from the past. With its crude rumbling riff , it harked back to late-50s rock’n’roll. The lyrics were gibberish but genius in that they made sense to adults dreaming of fast cars and wild sex (“Ow!”), as well as to kids wanting something to spout in the playground . Meanwhile, the sax parped sleazily and the monotone chug of the guitar presaged punk. The 70s started here. PL
Mouldy Old Dough Lieutenant Pigeon
Deserted by serious musicians, not quite ready for glam, the early 70s charts had a strange time of it. Only in 1972 could a track this ramshackle and mildewed have got to No1. It’s a jaunty tune hammered into dementia on the piano, accompanied by troglodyte drums and, of course, Nigel Fletcher’s unspeakable vocals . History spins 70s pop as a riot of tartrazine and glitter: this awesome and horrible record is here to set you straight. TE
1973 I Love You Love Me Love Gary Glitter
This bestselling single of 1973 was the fi rst record I ever bought , an outlaw an-
them in which Glitter brilliantly captured the gap between glam youth and older society : “They didn’t like my hair, the 1970–79
My favourite No 1
Peter Waterman Producer
I Heard It Through the Grapevine
Marvin Gaye 1969
I just think it’s the greatest pop record. Not only is the performance fantastic but the song itself is fantas-
tic. It’s got a great sentiment to it, but the track itself was so unusual at the time and you never forget where you were the fi rst time you heard that drum beat. The fi rst time I heard it was at the Locarno club in Coventry, where I used to DJ. I played it a lot, but I still play it to this day. Marvin Gaye’s performance is just breathtaking. It’s just the way he crescendos in, which is bizarre really. You’ve got this sort of downbeat rhythm, which is almost tribal, and then you get the french horn and then the voice comes in. Also, “I bet you wondered how I knew” – what a great line to get you into a song. Once you hear that you’re sold. I just think it’s th
cord. Not only
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(by Keith Reid, Procul ’s non-playing lyricist) from acid visions and snatches of misheard party conversations. Gary Brooker, the band’s singer, had grown up singing R&B covers with the Paramounts; his blue-eyed soul voice proved oddly perfect for this eternally enigmatic masterpiece. RW
Legend of Xanadu Dave Dee, Dozy, Beaky, Mick and Tich Every songwriting team has an act that brings out the best in them. For lifelong pals Ken Howard and Alan Blaikley , that act was a cumbersomely named Wiltshire fi ve piece fronted by Dave Dee . The Legend Of Xanadu was the quintet’s only No1, a magnifi cent moment of mariachi melodrama, which defi ed all of Jimmy Savil e’s at-
tempts to pronounce it when they performed it on Top Of The Pops. Forty-four years on from its release, it’s a perfect reminder that pop can be silly and life-affi rming in equal meas-
ure. Moving, too – after all, what was it to her that a man laid down his life in Xanadu? PP 1969
Something in the Air
Thunderclap Newman
Very few protest songs have reached No1 and only one has called for armed insurrection , albeit in a dreamy, non-
committal, Beatles-biting way. A song that cries “Hand out the arms and ammo” is a sharp reminder of just how strange things had become by the dying months of the 60s. Singer John “Speedy” Keen , a former roadie for the Who, wasn’t exactly about to join the Angry Brigade but he managed to bottle the mixed emotions of that brief moment when “revolution” was the hip buzzword and hippie idealism was giving way to something wilder. DL
Marvin Gaye;
(above) Dave Dee, Dozy, Beaky, Mick and Tich
01.06.12 The Guardian 11
distinguishes the best music of the disco era. “You can dance, you can jive/
Having the time of your life,” sing the girls. They’re describing a moment of pure happiness, never unaware that a moment is all it is. PP
1977 I Feel Love Donna Summer “This is it, look no further,” Brian Eno announced in 1977. “ This single is going to change the sound of club music for the next 15 years.” Well, never underestimate the potency of a wobbly Moog and a wailing disco queen, because I Feel Love continues to resonate through club music and beyond a full 20 years after Eno’s reck-
oning, and feels as young as ever. PR
You’re the One that I Want John Travolta and Olivia Newton-John
In 1978, older kids and young adults were all about disco, thanks to Sat-
urday Night Fever . Their little sisters and brothers, however, were all over Grease . If puberty had not yet struck, disco’s seductive power was a mystery. You’re the One that I Want , on the other hand, told you about something as yet hidden but made it sound like something you wanted to try: “I’ve got chills/ They’re multiplyin’/ And I’m losing control/ ’Cos the power you’re supplyin’/ It’s electrifyin’!” So that’s what sex is, we understood as one. MH
1979 Are ‘Friends’ Electric? Tubeway Army
After David Bowie’s Low and Heroes, the race was on for the fi rst big British electronic hit. Nobody expected this to come out of leftfi eld: a slow, almost dirge-y blast of pure teen alienation set in a chill sci-fi future – or, rather, alternative present – with its intima-
tions of surveillance, gay cruising and robotic sex. JS
My favourite No1
Ian Rankin Author
School’s Out Alice Cooper 1972
July 1972. School was out. I’d fi nished my seven years at primary. I was 12 years old and had a seven-
week holiday ahead of me, at the end of which lay high school. This was happening in Cardenden, a coal-mining town with no coal left. Things were changing. My peer group was off somewhere getting skinhead haircuts and Doc Marten boots, while I sat in the only cafe around, shovelling small change into the jukebox. At home there was a Dansette record player. At 10, I’d bought my fi rst pop single – Double Barrel – and now I was ready to add Alice Cooper’s No 1 hit to my collection. He looked scary and sang about kids in revolt. Good preparation for the coming term and its rites of passage. clothes I love to wear.” With hindsight, that was the least of their worries. DS
Rock Your Baby George McCrae
George McCrae didn’t set out to be disco’s John the Baptist. The 30-year-
old session singer was on the verge of returning to college when KC and the Sunshine Band founders Richard Finch and Harry Wayne Casey approached him . It was the product of careful research in the clubs of Miami, where the songwriters learned the tricks of dancefl oor success. Within a few years disco would be the heartbeat of pop, but in 1974 McCrae was a pioneer. DL
1975 Space Oddity David Bowie Space Oddity was originally a top fi ve hit in 1969, after featuring in advertise-
ments for the Stylophone synthesizer , which Bowie plays on the song, and during the BBC’s coverage of the Apollo 11 moon landing . But the space-age sounds and lyrics still seemed incred-
ibly futuristic on its 1975 re-release, by which point Bowie bestrode pop like a Technicolor-clad colossus. DS
1976 Dancing Queen Abba
When Frida from Abba fi rst heard the instrumental version of Dancing Queen that Benny and Björn had written, she burst into tears. In the ensuing 36 years, the potency of Dancing Queen has remained undiminished. At its heart is the bittersweet paradox that Acts with the
most No1s
Elvis Presley
The Beatles
Cliff Richard
Changed the sound of club music …
Donna Summer; (right) Alice Cooper; (below) David Bowie
12 The Guardian 01.06.12
Atomic Blondie
Some contend that Atomic is a pallid retread of Blondie’s fi rst UK No 1, Heart of Glass . Wrong, wrong, wrong. Both fused rock and dance music, but HoG was a straightforward love song, while Atomic was ambiguous: an outer shell of synth and guitar twang concealing a dark core of sleaze and insinuation. That Ennio Morricone-inspired gui-
tar – so incongruous in 1980 – Debbie Harry’s opiated moans , the urgency of the rhythm as it lifts off – it was dirty and futuristic, the apotheosis of US new wave. CS
Ghost Town The Specials
Forget for a moment the synchronous outbreak of inner-city rioting that made Ghost Town seem like a news report as much as a record. Hear it instead as the sound of a disintegrat-
ing band who stayed together just long enough to record it. The centre can-
not hold and the diff erent voices pass each other in the night without quite connecting. The mood is both pre- and post-apocalyptic . During the fraught recording Jerry Dammers called it “the greatest record that’s ever been made in the history of anything”. It’s certainly up there. DL
The Model Kraftwerk
Being ahead of their time was both a blessing and a curse for Kraft-
werk. Only hindsight allows us to acknowledge their prescience fully. Th is pre science was a key factor in their Computer World single being upstaged by its B-side. Though it originally appeared on the 1978 album The Man Machine, The Model made more sense in a pop scene reconfi gured by a rouge-streaked generation of androgynes . In the world of Spandau Ballet, Gary Numan, Duran Duran, Visage and Scary Monsters-era Bowie, some people called themselves futurists; others preferred the term New Romantic. The Model was the exact point where the two intersected. PP
Karma Chameleon Culture Club
Karma Chameleon is about everything and nothing, as pop often is. It’s full of coded messages to Boy George’s secret lover, Culture Club drummer Jon Moss (“I’m a man who doesn’t know/How to sell a contradiction”), and images that suggest synaesthesia (“ Loving would be easy if your colours were like my dreams”). To me in 1983, aged fi ve, it was a perfect nursery rhyme. To me now, it speaks of pop’s ability to remain a strange, compelling creature – just like the boy who fronted it. JR
Two Tribes Frankie Goes to Hollywood
If nuclear annihilation was just a button away wouldn’t you want to make a record that contained every idea you’d ever had? That was what Two Tribes sounded like. Inspired by Mad Max, William Burroughs, the Falk-
lands war and a big bag of weed, Holly Johnson dreamed it up in obscurity. The cash bonanza of Relax enabled producer Trevor Horn to turn it into a gleaming disco-metal warhead and po-
mo visionary Paul Morley to expand 1980–89
My favourite No 1
Annie Nightingale DJ
Ghost Town The Specials 1981
Government leaving youth on the shelf This place, is coming like a ghost town
No job can be found in this country
Can’t go on no more
People getting angry …
The ingredients : opening melodra-
matic doom -laden chords, performed by Jerry Dammers, composer of the song … brass stabs … that infectious ska beat … and Terry Hall, he of the deadpan face and voice. Not an obvious recipe for a No 1 hit – but it punched home with deadly accuracy. Social comment and a perfect pop song . What made Ghost Town so irresistible were the arrangements, ghostly back ing vocals chanting eerily and the wailing siren eff ects. A Tory prime minister, high youth unemployment, recent riots – it’s almost too obvious to say that Ghost Town could have been written today rather than 31 years ago . The lowest charting million-selling single of all time is New Order’s Blue Monday, which has sold 1.1m copies to date.
01.06.12 The Guardian 13
The biggest-selling non-No 1 single in history is Wham!’s Last Christmas/
Everything She Wants, which peaked at Number 2 on its release in December 1984 – kept off the top by the second biggest single of all time, Band Aid’s Do They Know It’s Christmas?
On the Music Weekly podcast today:
Everything you ever needed to know about the history of the UK charts
it into a multimedia art statement. The British public signed up to the lunatic largesse of the whole project by keeping it at No 1 for nine weeks. Apocalypse, wow ! DL
Into the Groove Madonna
I was three when this single fi rst came out . It marked the beginning of my decade-long pop crush. Madonna was never the best singer or dancer, but she transcended the need to be either. Even now, in a post-Gaga world, the chorus still gets me. It makes me believe that “only when I’m dancing can I feel this free” , and reminds me with that irresistible bridge – improvised on the spot by Madonna in the studio – that plenty of songs have celebrated both dancing and sex, but few have done it this well. NI
West End Girls
Pet Shop Boys
Pop is often about the shock of the new. The Pet Shop Boys also understood the shock of older details: a 30-year-old in an overcoat delivering spoken-word statements about a city, and an opening line (“ Sometimes you’re better off dead”) like a gambit from a Raymond Chandler thriller. At the same time, West End Girls did fresh, jolting things, taking US electro and hip -hop to pecu-
liar (and British) places. Appropriately, it spent its week at No 1 in January, that wintry time for sales in which miracles happen. It still sounds extraordinary, in any season. Jude Rogers
Jack Your Body Steve ‘Silk’ Hurley
There were better early house records, but Jack Your Body’s unexpected success has given it a special place in British pop history. A full 18 months before acid house fever, Hurley’s mercury-thin metallic beat with a hairspray hi-hat , confused the hell out of people . Crucially, Jack Your Body had no verse or chorus, and only the most basic melody . Everything rides on its rhythm and repetition. The modern pop era starts here. Bob Stanley 1988
Doctorin’ The Tardis The Timelords
It shouldn’t work: a collision of the Sweet’s Blockbuster , Gary Glitter’s Rock & Roll Pt II , Harry Enfi eld catchphrases, the Doctor Who theme and chants of “YOU WOT, YOU WOT, BOSH BOSH BOSH” – all fronted by a clapped-out US cop car called Ford Timelord. Actually, even on paper that looks amazing. Doctorin’ The Tardis spent one week at No 1, but that was enough to qualify the Timelords to publish The Manual (How to have a number one the easy way) . “Other than achieving a No 1 hit single we off er you nothing else,” they warned in the book’s introduction. “There will be no endless wealth. Fame will fl icker and fade and sex will still be a problem.” PR
Back to Life Soul II Soul
Back To Life was the midtempo sound of late-80s clubland, the chilled pulse between ambient and house, and the promise of early 80s Britfunk fulfi lled. And if the lyrics seemed a little compli-
ant (“However do you want me?” was the parenthetical bit of the title), on further inspection (“Need a change, a positive change”) they rang like a clarion call to the acid masses, a declaration of immersion in hedonism: back to a life of pleasure and a reality that comprised pill-popping weekends and raves off the M25 . PL
1990 World in Motion New Order There are probably greater examples of radical volte-faces in pop than this , but it would take some time to think of them. Bernard Sumner had begun the 80s by declaring, “ It comes and it goes and it frightens me ” and was now proclaiming that “love’s got the world in motion” while dressed as a Las Vegas Elvis . The alienated synthesists were now providing the theme tune to football’s big global event, and captur-
ing the detente between alternative culture and the lad masses. PL
1991 Bring Your Daughter to the Slaughter Iron Maiden
Would you believe this was the fi rst metal single to reach No 1 ? Bring Your Daughter to the Slaughter – though not even a terribly good Maiden song – The Specials on stage in 1980 No 2
14 The Guardian 01.06.12
My favourite No 1
Chuka Umunna MP
Back to Life Soul II Soul 1989
When Soul II Soul’s Back to Life reached No 1 it was ground breaking. Their show at Brixton Academy was the fi rst ever gig I went to in the early 1990s – I will never forget hearing them perform this track. Too often UK artists have sought to mimic their friends in the U S, but not Soul II Soul. They blended all the elements that make up multicultural Britain to pro-
duce a quintessentially British soul sound with cross -cultural appeal. The biggest selling non-charity single of all time is Wings 1977 hit Mull Of Kintyre/Girls’ School with 2m sales to its name.
benefi ted from a perfect storm . It was released at the start of January, when the casual record-buyers stay home; it had been promoted as a rival to Cliff Richard for Christmas No 1; and it was banned by Radio 1. It was enough. MH
1992 Deeply Dippy Right Said Fred Right Said Fred ’s I’m Too Sexy looked like it had one-hit wonder written all over it. Yet the Freds were more versa-
tile than many would have assumed. Deeply Dippy was gloriously out of kilter with the chart and constructed in a unique way – it takes 80 seconds to spring to life, and when it does it whips out the trombone and embarks on an extended instrumental break. TJ
1993 Pray Take That Pray is the reason I adored Take That. With euphoria, guitar riff s and the boys’ echoing vocals, this was the group at their peak, and it stayed at No 1 for four weeks. The homoerotica is over the top , but the sheer sensual-
ism makes it one of the best videos of all time. It’s amazing to think that Gary Barlow once gyrated with such gusto, but that was the power of Pray, and it gave me something to believe in. KY
1994 The Real Thing Tony di Bart
In 1994, commercial house music ruled the charts . Reviled as handbag house, it briefl y made stars of unlikely people, including Tony di Bart , a bathroom salesman from Buckinghamshire . The Real Thing is a fantastic pop record: melancholy chafi ng against plasticky bedroom production. AP 1995 Earth Song Michael Jackson
On Jackson’s claustrophobically solipsistic HIStory album, Earth Song stood out as a song about something other than his treatment by the media. “What about elephants?” he barks at one point as a choir try to make them-
selves heard over clattering drums, horns and the distant sound of 100 kitchen sinks being played. It’s ridicu-
lous and all the more brilliant for it, Jackson playing it irony-free and impas-
sioned . Earth Song is Michael Jackson’s biggest selling single in the UK. Not Billie Jean , not Thriller, but this. MC
Setting Sun The Chemical Brothers feat Noel Gallagher What better use of Gallagher Sr’s commercial clout at Oasis’s apex than to take this psychedelic nervous break-
down to the very top? It was the sound of two parallel mid-90s trends – Brit-
pop and breakbeats – smashed together like Tonka trucks. And like Born Slippy, another riotous dance record that tore up the charts that year, it evokes a hedonism so intense that it feels like it’s already spiralling into chaos. That’s a sensation Noel in his cocaine pomp must have understood. DL
1997 MMMBop Hanson MMMBop would have been brilliant even before the Dust Brothers sprin-
kled magic pop dust all over it. As young Zac Hanson later explained, the lyric was about eschewing the paraphernalia of fame and fortune in favour of “the things that really matter [in life]”. Once the single shot to No 1, Hanson did well to heed its advice. PP
1998 Brimful of Asha Cornershop
Cornershop’s ode to Asha Bhosle and 7in singles is one of the most unexpected chart-toppers in history . This was a band that began life in protest at the apolitical nature of British music, who once wore their musical ineptitude on their sleeves and whose name inverted a whitey slur against British Asians. Fatboy Slim ’s big-beat makeover took the indie underdogs to the masses . MM 1999 The Millennium Prayer Cliff Richard
By combining The Lord’s Prayer with Auld Lang Syne and hitting the top spot more than two years before Suga babes’ Freak Like Me , The Millennium Prayer was the fi rst mashup No 1 of the mod-
ern pop era . Cliff has attempted to hit the pop pinnacle since, but nothing has quite done the business, meaning t his was probably his last ever No 1 . PR Right Said Fred: no one-hit wonders
01.06.12 The Guardian 15
My favourite No 1
Stewart Lee Comedian
Sugar Baby Love The Rubettes 1974
I saw the Rubettes perform Sugar Baby Love on Top of the Pops when I was fi ve in 1974. I liked the man’s high voice. My grand ad said he was a nancy boy. My mum bought it for me from Woolworths . In 1993 I was doing a stand up gig in High Wycombe town hall. The Rubettes were in the big hall. I went in their dressing room and ate some of their sandwiches. Today, I have a 1972 Wurlitzer juke-
box. It has Sugar Baby Love on it. 1978 was the biggest pre-digital year for singles sales in UK history, with 89m 7in, 12in and cassette singles sold in the UK. Singles sales in the digital age have doubled in the past fi ve years, to 178m singles sold in 2011.
2000–12 2000
Bound 4 Da Reload Oxide and Neutrino
It felt like UK Garage was everywhere in 2000 and Bound 4 Da Reload at the No 1 spot remains an important landmark. From the opening sirens to the Lock Stock and Two Smoking Barrels sample imploring everyone to “stop getting shot”, this track had a hint of menace ; but there was also a pop lightness in the idea of sampling the theme from Casu-
alty. The constant slowing down and speeding up of certain sections made it as thrilling as it was threatening. KY
Can’t Get You Out of My Head Kylie Minogue
After the cheerful hot-pink disco of Spinning Around, Can’t Get You Out of My Head was sleek, Arctic-blue mini-
malism . Is Kylie addressing a partner, an evasive one-night stand or someone who doesn’t know she exists? And what’s her “dark secret”? All that’s cer-
tain is that her longing, like the locked, robotic groove, will never fi nd release. Her obsession is as nagging as that “la la la”: an earworm of the heart. DL 2002
Freak Like Me Sugababes
The cult of the mashup made underground stars of bedroom boffi ns . Perhaps the most celebrated example was Are “Freaks” Electric?, which saw Sheffi eld DJ Richard X place the a cap-
pella mix of Adina Howard’s Freak Like Me over Tubeway Army’s Are “Friends” Electric ?. Perfect for Sugababes, who needed a surefi re pop banker on which to hang their comeback. Freak Like Me launched the biggest British girl group of the decade, and nudged Gary Numan closer to national treasure status. PP
Ignition (Remix) R Kelly There’s a cult of R Kelly that adores his knowing preposterousness , b ut treat-
ing him as a goof does his craft a huge disservice. Ignition (Remix) is one of the smoothest, most immediately likable songs of its era, but its eff ortless glide hides meticulous construction. Not a beat, a bar or a “bounce bounce” is wasted – R Kelly builds his picture of a perfect night from spare beats, hints of synth melodies and a gloriously urbane performance, as expert and intimate as Sinatra. TE
Baby Cakes 3 of a Kind
You could call it bubblegum 2-step. Baby Cakes came out some time after UK garage’s high -water mark, and a full fi ve years after Shanks & Bigfoot’s Sweet Like Chocolate . It defi ed fashion with its irresistibly sweet chorus and a lyric that mixed doubt, devotion and dumb teenage defi ance . For reasons unknown, 3 of a Kind never released a follow-up, which makes them the ultimate one -hit wonders. BS
Dare Gorillaz
Gorillaz’ sole chart-topper saw Damon Albarn’s falsetto nailing the killer hook while a guesting Shaun Ryder wandered incoherently all over the shop. Years previously, Albarn’s talk of expanding his horizons beyond the conventions of indie attracted derision – often from his own bassist, who called him “the blackest man in west London”. But Dare “gets” the principles of funk and implements them with sublime abandon. PP
Smile Lily Allen
Young women in pop tended to be well-groomed, well-tuned automatons . Then came Lily. To a summery, rocksteady sample of The Soul Brothers’ Free Soul , here was a 21-year-old Londoner berat-
ing an ex . She did so with refresh-
ing rudeness, and a knowledge of her own self-worth . Her voice was Left: Oxide and Neutrino bring menace to TOTP. Below: What was Kylie’s dark secret?
er saw Damon g t
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s What’s your favourite No 1?
Comment and listen to our picks on the website. You can also join the debate on Twitter: #bestnumber1s
16 The Guardian 01.06.12
Top 5 biggest selling singles of
all time:
1 Something About The Way You Look Tonight/Candle In The Wind 97
Elton John
2 Do They Know It’s Christmas?
Band Aid
3 Bohemian Rhapsody
4 Mull Of Kintyre/
Girls’ School
5 Rivers Of Babylon/
Brown Girl In The Ring
Boney M
SOURCE: Offi cial Charts Company that of a girl next door , acknowledging the slog of heartbreak . Smile shines because we’ve all been there, as the best pop songs often do. JR
Umbrella Rihanna
The sodden summer of 2007 gave a topical spin to one of the decade’s great starmaking smashes. Thus far a likable lightweight, Rihanna delivered exactly the vocal – tough, tender, unfussy – that this gargantuan R&B power ballad required. Umbrella had the imperial determination of a song that wouldn’t be stopped . DL 2008
Viva la Vida Coldplay
Perhaps because of its lack of a chorus, or a string arrangement that bore more in common with a Michael Nyman Lily Allen … voice of a girl next door
Below: Tinie Tempah has a lot of clothes
score than any of their previous songs, Coldplay’s record company cautioned against releasing Viva la Vida as a single. Far from being a problem, its simple military beat has spawned hundreds of remixes and mashups . PP
I Gotta Feeling Black Eyed Peas
The production on this, the biggest-
selling digital download in history, is pure David Guetta, updating the kind of synthetic Eurodance pumped out of fairgrounds and seaside arcades in the 90s. That’s not to detract from the limited talents of Black Eyed Peas: this is their cultural opus. Euphoria so braindead, so optimistic and deeply uncool, you’ll be dancing to it at weddings for the next 30 years. NI
Pass Out Tinie Tempah Hip-hop is about self-actualisation. Tinie Tempah wasn’t remotely famous when he recorded his fi rst single but he regarded success as a done deal. The trick is how charmingly he balances VIP-room triumphalism with comically mundane detail : “I got so many clothes I keep some at my aunt’s house.” DL 2011
Swagger Jagger Cher Lloyd
Swagger Jagger was the only chart-
topper in a dreary year that was actu-
ally surprising. Surprisingly terrible, you might argue, and on the fi rst play I agreed: Cher Lloyd stomping around puffi ng herself up with the chorus of Oh My Darling Clementine stitched in . But in this case shock turned to grudg-
ing respect , and outright enjoyment at quite how many hooks and tricks the producers try to grab you with. TE
And the current No 1 is…
We Are Young fun. (ft Janelle Monae)
All these songs were young once, and all felt in some way vibrant as they topped the charts. We Are Young by fun. certainly feels like the sound of now – scrub-
bing up Arcade Fire’s way with an anthemic chorus and laying on a life-affi rming lyric: “Tonight, we are young , so let’s set the world on fi re .” They could well be talk-
ing about the transient pleasures of pop itself. TJ
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1 – 12 august 2012
© Mark Seliger
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Film Pop Jazz Classical Radio Television
Patti Smith Page 25
Phone Sex
Blood Diamond feat. Grimes A new age, wispy update on Rihanna’s We Found Love that features 2012’s most sought after sound - steel drums.
God Save the Queen
Neil Young
Presumed to be a cover of the Sex Pistols classic; turned out to be a gnarly take on the national anthem: so ... celebrate? Call My Name (Royal T Back to 99 remix)
Cheryl Cole On which Chezza is given a makeover of the sprightly garage variety by the young grime producer. Okay Cupid
Kitty Pryde Sleepily infectious dream-crunk from a snotty, Odd Future-
loving teen girl rapper – either the new Uffi e or the new Kreayshawn.
Is Your Love Big Enough?
Lianne La Havas
Sounded just perfect in the hot weather all week, and even as the skies turn grey, off ers further hope of something special.
The F&M Playlist
Staggering images of a catastrophe: Sion Sono’s Himizu, page 23
01.06.12 The Guardian 19
Reviews Film
By Peter Bradshaw
Director: Ridley Scott. With: Noomi Rapace, Michael Fassbender, Charlize Theron. 123min. Cert: 15 Ridley Scott has counter-evolved his 1979 classic Alien into something more grandiose, more elaborate – but less interesting. In place of scariness there is wonderment; in place of tension there is hugely ambitious design; in place of unforgettable shocks there are remind-
ers of the original’s unforgettable shocks. There are also some shrewd and witty touches, and one terrifi cally creepy performance from Michael Fassbender, who steals the fi lm with the chilling, parasitic relentlessness of that fi rst gut-bound alien. The original took place in space, where no one can hear you scream; in this fi lm, no one can hear you scream above the deafening, kettle drum-bothering orchestral score.
The freaky-dystopian conspiracy spirit of 1970s sci-fi survives, sort of . At one point, someone produces a squeeze-
box allegedly once owned by Stephen Stills, but doesn’t actually play anything on it. But the subversive spirit has now been melded with the blander aesthetic of the top-dollar multiplex event movie. First time around, the ship was a claus-
trophobic confi ne whose crew would look tense and unwell in that stark uplight . Now, the characters are forever making excursions outside the ship into a colossal CGI alien landscape, a digital universe unavailable to Scott 30-odd years ago .
Prometheus is part prequel, part variation on a theme: the object is ostensibly to explain the presence in Alien of a strange humanoid-corpse with a hole blasted open in his stomach. This the fi lm does get round to explaining, after many intestinal convolutions. What it also does is return us to the world of Erich von Däniken’s 1968 best-
seller Chariots of the Gods, about humankind being bred on Earth aeons ago by spaceman-aliens. The crew of the spacecraft Prometheus are basically on a mission in 2094 to establish this; no one mentions Von Däniken, perhaps not surprising as he has been pretty much forgotten even in 2012.
Noomi Rapace is well cast as Dr Elizabeth Shaw, an intense and driven scientist who has absorbed a calm religious faith from her father . Her creationist views are never seriously challenged – except for one perfunctory complaint that she is going against “centuries of Darwinism” – and she is galvanised when, with her colleague and lover Dr Charlie Holloway (Logan Marshall-Green), she discovers ancient cave paintings in the Isle of Skye showing humans worshipping a specifi c star-
constellation. Other cave paintings in the world duplicate this; astronomers fi nd the constellation in question and soon, Dr Shaw and Dr Holloway are on board a spacecraft , a mission bank-
rolled, in the time- honoured manner, by a shadowy corporation. Charlize Theron is the icy, black jumpsuit-clad corporate commander Meredith Vickers; Idris Elba the rebellious captain .
Upstaging everyone is Fassbender, who provides the fi lm’s real glint of steel, while decentring its dramatic focus. He plays David, a robot who has been de-
signed to look like a highly convincing humanoid, avowedly to avoid scaring or upsetting the crew. While they have been cryogenically frozen during the two-year fl ight, David has been gliding about like a head waiter keeping every-
thing on board shipshape. But he is – again, more time-honoured tradition – a robot who might decide he has a mind of his own. With his eerily Aryan look and stiff -armed walk, he’s channelling C3PO and David Bowie’s Man Who Fell to Earth. David also, like Wall-E, enjoys old movies, and he models his supercili-
ous manner on Peter O’Toole in Lawrence of Arabia. As in other performances, Fassbender’s lower jaw has a tendency to clench, as if suppressing rage or disgust: here it becomes an opaque, robotic mannerism of veiled threat.
When the crew land on that far-off planet, they make a staggering discov-
ery, which for Dr Shaw is pretty much a conceptual orgasm, a moment of almost sexual congress with the unknown. Of course, her troubles begin when they return to the ship. The spacecraft on Alien had the Conradian title of Nostromo. Prometheus is the titan who was tortured by the gods for giving fi re to the humans – but here it is the humans who are tortured and consumed by a new and terrible kind of fi re.
It is a muddled, intricate, spectacular fi lm, but more or less in control of all its craziness and is very watchable. It lacks the central killer punch of Alien: it doesn’t have its satirical brilliance and its tough, rationalist attack on human agency and guilt. But there’s a driving narrative impulse, and, however silly, a kind of idealism, a sense that it’s exciting to make contact with whatever’s out there.
Ridley Scott’s return to the Alien universe is grandiose and muddled – with a scene-stealing Michael Fassbender performance
Contact high
… listening to Morrissey’s I’m Throwing My Arms Around Paris on Steve “Lammo” Lamacq’s Radio 6 show
Chilling relentlessness … Michael Fassbender in Prometheus
01.06.12 The Guardian 21
Reviews Film
Neigh sayer
The Turin Horse
Dir: Béla Tarr. With: Erika Bok, Janos Derzsi, Mihaly Kormos. 146min. Cert: 15 Béla Tarr’s bleak and bitter fi lm is a glacially paced nightmare in which the scare factor has been replaced with desperate melancholy; it is composed with his characteristic long takes, anvil silences and fi ercely unsmiling faces, shot in undersea monochrome, and prefaced with Tarr’s habitual austere titles in Times Roman . The movie is about the end of time and the end of days. At 56 years old, Tarr has announced that this is his fi nal fi lm.
It is a meditation on Nietzsche who, in Turin in 1889, was said to have seen a horse being thrashed, and protectively threw his arms around the beast, then sobbingly collapsed due to some kind of breakdown, possibly a stroke. Whatever it was, the calamity neither destroyed nor made him stronger, but sent Nietzsche into a long decline that ended with his death in 1900.
Tarr’s fi lm imagines what happened to that horse, whose suff ering triggered the philosopher’s collapse. It is being driven by a hard-faced, bearded man back to his farm, where he gives a terse series of orders to a younger woman, evidently his daughter. We are not obviously anywhere near Turin, or Italy, but rather in Tarr’s central European wasteland (it is shot in Hungary), ravaged by a continuous gale that fi nally makes this setting look like a polar icecap. The orchestral score by Tarr’s long-time composer Mihály Víg is as incessant as the wind, repeating and repeating like Philip Glass.
The horse now refuses to work, or to drink, and the old man and younger woman, stricken with dismay, receive disturbing news from a neighbour about an approaching apocalyptic breakdown. Are we witnessing the death of God? Or man? Among the characters, the horse has a Houyhnhnm-like dignity. Perhaps it was the Fool to Nietzsche’s Lear, or perhaps Nietzsche has trans-
migrated into the horse itself, and now impassively watches humanity’s fi nal days – though the old man, with one arm incapacitated by a stroke, has himself a faint look of Nietzsche. The movie exerts an eerie grip, with echoes of Bresson, Bergman and Dreyer, but is utterly distinctive: a vision of a world going inexorably into a fi nal darkness.
The Angels’ Share
Dir: Ken Loach. With: Paul Brannigan, John Henshaw, Roger Allam. 101min. Cert: 15 Ken Loach’s new movie arrives in the UK garlanded with the Cannes Jury Prize : a freewheeling social-realist comedy caper. In many ways this is his most relaxed screen off ering for some time , draw ing on the Ealing fi lm Whisky Galore! Again, Loach has used non-professionals: his leading man is newcomer Paul Brannigan, playing Robbie, a young Glasgow criminal who fi nds himself sentenced to repaint a community centre with a bunch of law-
breaking dopes . The supervisor, Harry ( John Henshaw), is a kindly soul who has a connoisseur’s passion for whisky, and out of the goodness of his heart takes them on an outing to a distillery. Miraculously, Robbie turns out to have a “nose” – an untrained discerning judgment of whisky, perhaps like Billy’s bird-training ability in Kes (1969) . He is intrigued by the fact that some whisky evaporates in the cask – the so-called “angels’ share” – and the unrecon-
structed criminal in him wonders how he can get his share. Robbie and his mates are no angels, but the fi lm fi nds a way of giving them something that real life can’t or won’t: a chance. PB Snow White and the Huntsman
Dir: Rupert Sanders. With: Charlize Theron, Kristen Stewart, Chris Hemsworth. 127min. Cert: 12A In this new version of the fairytale , the second in just a few months, Snow White is like a cross between Aslan and Joan of Arc. It’s very diff erent from the jokeyness of Julia Roberts’ Mirror Mir-
Meditation on Nietzsche … The Turin Horse
Moonrise Kingdom
Wes Anderson is on form with this 60s-set charmer (below) about puppy love
Barbaric Genius
Fascinating study of John Healy, alcoholic criminal turned chess supremo
Men in Black III
It could have been so much worse: Smith and Jones are back, and having fun
Béla Tarr bows out bleakly, writes Peter Bradshaw
01.06.12 The Guardian 23
Reviews Film
Top Cat: The Movie ★★★★★
Dir: Alberto Mar. With: Jason Harris, Bill Lobely, Chris Edgerly. 90min. Cert: U Huge big band intro. Top Cat! Do you remember it? Top Cat ! Well, they’ve dismembered it. Cartoon cats who’re breaking the law — we loved it on TV, but the fi lm version’s poor. Top Cat! The indisputable worst fi lm of the year! The animation’s bad, and the script is just sad, I think we’ve all been had by – Top Cat! Middle instrumental section: a badly animated TC and the gang zoom unfunnily and jerkily around New York, trick Offi cer Dibble in various ways, go into a club, throw the doorman a dollar bill attached to a piece of string and pull it back etc, while audience wonder what happened to their much-loved childhood TV memories. Instrumental section ends.
Top Cat! It’s ineff ectual. Top Cat! It’s just incredible. A decent fi lm is what you desire, but oh, my, God, this really is dire. “Top” Cat? Oh Lordy, is the word “top” justifi ed? It’s the bottom of the heap, and it frankly looks cheap, the disaster of the year is – Top Cat. PB Death Watch
Dir: Bertrand Tavernier. With: Harvey Keitel, Romy Schneider, Harry Dean Stanton. 130min. Cert: 12A For its strangeness, the 1980 movie Death Watch – now re- released in a digitally restored print – deserves cult curiosity status. It is a prescient but lugubrious sci-fi satire about reality TV : Romy Schneider plays Katherine, a woman with a terminal illness who has been talked into taking part in a 24/7 TV programme that will show her decline . She runs out on the deal, and fl ees with a new friend Roddy (Harvey Keitel), who is secretly working for the TV crew with cameras surgically implanted into his eyes, transmitting her most intimate moments to a TV audience. The movie has stunning images of Glasgow, where it is set, and the the story unfolds at a languid, non-sci-fi pace, very diff erent from Hollywood pictures like Network . Intriguing. PB ror , but with a similar basic problem. Kristen Stewart stars as the heroine; Charlize Theron is the sexy evil queen ; and Chris Hemsworth plays the hunts-
man, who is now a full-blown romantic lead, a hunky-stubbly protector with an accent like Russell Crowe’s Robin Hood – from Cowdenbeath, Taunton and Dublin. In the manner of Twilight , the fi lm gives Snow White an unre-
solved and franchise-friendly romantic choice between the Huntsman and a posh prince resonantly named William (Sam Clafl in). Theron is soon reduced to screeching like a panto villainess in that all- purpose Bardspeak accent. It all becomes very drawn out, and like Mirror Mirror, tries to fi x what isn’t broken: the poignant clarity of Snow White being betrayed by a non-mother and then having to be a quasi-mother to seven little people. That is evidently far too babyish and needs to be sexed up, or rather teen-abstinenced up. The result is tangled and overblown. PB Himizu ★★★★★
Director: Sion Sono: With: Shôta Sometani, Fumi Nikaidô. 129 mins. Cert: 18 Japanese poet-provocateur Sion Sono was adapting a popular manga when the 2011 tsunami struck the Japanese mainland. Mobilising a rapid-
response fi lm crew, he has captured not only staggering images that exem-
plify our tumbledown world but what may become one of the great themes of our time: how the young will bear the yoke of elders who’ve been wiped out – fi nancially, geographically, emotionally – by recent events. Mike McCahill On the Sly
Director: Olivier Ringer. With: Wynona Ringer. 77 mins. Cert: U An oddly charming curio : an English dub of a live-action French fi lm observed from its heroine’s perspective. At the end of a weekend away, knee-high Cathy runs off to the woods when her parents leave for home. What follows is like a Gallic Home Alone, sidelining parental panic in favour of asides on how the young register time and basic tasks diff erently. MM Staggering images … Himizu
e i
mi o
77 mins.
An od
… Himizu
24 The Guardian 01.06.12
Reviews Pop
By Alexis Petridis
The Beach Boys
That’s Why God Made the Radio
EMI ★★★★★
It’s easy to be sceptical about the Beach Boys ’ reunion. Indeed, if you look at the messageboards, diehard fans seem the most distrustful of the lot, which fi gures: for all the warmth and open-
heartedness of the band’s best music, if there’s one thing being a Beach Boys fan teaches you, it’s scepticism. There are only so many times you can be told Brian Wilson has been restored to full physical and mental health, the better to make himself and a lot of other people a great deal of money, before you develop what the Clash called a “bull shit detector”, and Beach Boys fans have been told that on a regular basis – and with a great deal of evidence to the contrary – for the last 36 years.
Anyone looking to the music itself to check for signs of cynicism need only turn to Spring Vacation. It opens with a verse in which Mike Love claims to be “living the dream … cruisin’ the town, diggin’ the scene”. The Beach Boys’ music has often involved a suspension of disbelief – all those songs depicting a perfect, gilded California youth , written by a man whose own youth had been mired in physical and mental abuse – but this seems to push unreality to its limit. You fi nd yourself wondering why on earth a 71-year-old would be cruisin’ the town and diggin’ the scene: perhaps he’s plannin’ on askin’ them to keep the noise down so a n old man can get some rest. Then it moves on to the subject of the reunion itself: “We’re back together, easy money,” he sings, as indeed you might if, after years of playing fairgrounds and casinos, you found yourself shifting $70m [£45m) of concert tickets simply by hooking up with the cousin you have spent most of the last 20 years suing. “All I can say is, we’re havin’ a blast!” he off ers, which isn’t what a recent profi le in Newsweek – depicting Brian Wilson “in various stages of distress” on stage with the band – suggested.
If the lyrics are disingenuous, the song itself isn’t up to much, the music slick but unremarkable. The fi rst two-
thirds of the album passes in similarly ho-hum style, notwithstanding the wordless introduction, Think About the Days, which is beautiful. The title track is a decent pastiche of Wilson in his prime, its cascading chorus equal parts Kiss Me Baby and John Barry’s Theme from Midnight Cowboy ; The Private Life of Bill and Sue, however, a satire on reality TV, makes you want to curl up and die of embarrassment.
But just as you’re about to dismiss the album entirely, something extra-
ordinary happens. The fi nal three tracks – From There to Back Again, Pacifi c Coast Highway and Summer’s Gone – form a kind of suite that is easily the best thing Brian Wilson has put his name to in the last 30 years. Episodic, occasionally lapsing into silence, fi lled with shifts in tempo, the melodies impossibly beautiful, it takes the melancholy at the heart of Wilson’s greatest work – from Pet Sounds to Til I Die – and repurposes it. In contrast to the rest of the album, which relies on creaky nostalgia, it concerns itself with ageing (“sunlight’s fading and there’s not much to say”, sings Wilson on Pacifi c Coast Highway), death and the Beach Boys’ legacy. “Our dreams hold on for those who still have more to say … it’s time to go,” off ers Summer’s Gone, undercutting all the gung-ho, we’re-havin’-a-blast guff that comes before it in the same way the wistful, autumnal intro to California Girls seemed at odds with that song’s sun-
kissed lechery. Wilson’s vocals sound engaged with the subject , which seems faintly incredible given that on every other recent record he’s made , he’s sounded like a man forced at gunpoint to read his lyrics off a broken autocue.
For all its fl aws, That’s Why God Made the Radio is an infi nitely better way for the Beach Boys’ story to end than their last album of new record-
ings, 1992’s disastrous country outing Stars and Stripes Vol 1 , or indeed the last album that bore their name – Mike Love, Bruce Johnston & David Marks of the Beach Boys salute NASCAR – on which the trio rerecorded old hits for the benefi t of a chain of US petrol stations. Exquisite beauty nestles alongside stuff that’s wildly misjudged , painful honesty alongside the constant burnishing of a myth about youth and sunshine and a California that everyone stopped believing years ago, the whole thing wrapped in stories of non-existent fraternity, harmony and good vibra-
tions: it’s the Beach Boys in a nutshell. Perhaps without realising it, That’s Why God Made the Radio tells you almost everything you need to know about America’s Favourite Band.
Here comes the sunset
Eurythmics – Paint a Rumour
It’s hard not to think that, if waff y old Dave Stewart hadn’t been involved, people would be proclaiming this a Balearic/cosmic disco classic
THIS WEEK ALEXIS LISTENED TO ‘We’re back together, easy money’ … the Beach Boys
There’s some rotten stuff on it too, but parts of the Beach Boys’ new album seem like the perfect way to end to their story
01.06.12 The Guardian 25
Neil Young
★★★★★ You can hear Neil Young addressing Crazy Horse at the end of Americana’s fi rst track. “It’s really funky. It gets into a good groove,” he says of their version of Oh Susannah . This leads one to wonder how he defi nes “funky”, since his version resembles nothing so much as a pub band playing Shocking Blue’s Venus with diff erent lyrics. And there’s Americana in a nutshell: beloved songs from America’s past, be they folk , blues or pop songs, such as the Silhouette’s 1958 No 1 Get a Job , put through the mangle of Young’s overdriven guitar and stretched to unnecessary lengths. It’s like Bruce Springsteen’s Seeger Sessions album , but with attention to detail replaced by one-take sloppiness. It sounds great – there’s space between all the instruments, with none of the compression that blights many albums today. It also feels almost impossibly pointless. Where Springsteen used the past to illustrate the present, Young sounds like he’s doing whatever comes to mind, which is surely the only explanation for Americana’s last song: God Save the Queen . Not the Pistols, the national anthem. Michael Hann Dexys
One Day I’m Going to Soar
BMG ★★★★★
Kevin Rowland hasn’t written mere songs for his Dexys comeback; rather a West End musical. To call it a concept album underestimates its high-camp, red-velvet theatricality. The plot : man refl ects on youth, and how he was “always dreaming of some way that I could be”; man pants over a beautiful woman; she reciprocates; their love implodes; man concludes, “I can’t be what anybody wants me to be.” Even if it isn’t autobiography, the man’s heart-
on-sleeve individualism and resistance of any attempt to “overpigeonary” him are pure Rowland. The music is recognisably Dexys, endlessly quoting from 1960s soul and pop songs, but it’s also perfunctory, happy to mooch along aimlessly beneath Rowland’s monologues. Which are laugh-out-loud preposterous, mostly – but so defi antly idiosyncratic that you can’t help admiring him. Maddy Costa Patti Smith
★★★★★ Patti Smith has returned to the poetic-
punk format of 1975’s Horses , which the Polar prize committee recently described as “Rimbaud with amps”. Four of Horses’ personnel – Smith, guitarist Lenny Kaye, drummer Jay Dee Daugherty and Television’ Tom Verlaine – are present here . It’s a mixture of pop songs and poetic explorations, aided by the instantly resumed chemistry between Kaye’s shimmering hooks and Smith’s sensual vocals. While she has never sung better, the pop songs hit home fi rst: the dreamy Amerigo, the refl ective Maria and sublime April Fool , a headrushing tale of outlaw lovers who “race through alleyways in our tattered coats” . The more esoteric monologues demand – and reward – perseverance, especially the 10-minute Constantine’s Dream, a passionate defence of her other great love, art, complete with fantasy sequences set in the Garden of Eden. The collision of sound and language is exhilarating; i f it is also occasionally impenetrable, that’s down to her death-or-glory manifesto to “let me die on the back of adventure, with a brush”. Dave Simpson This Is PiL
Public Image Ltd
No future in England’s dreaming? Lydon whistles a diff erent tune
Words and Music by Saint Etienne
Saint Etienne
A beautifully written love letter to the joys of pop
Paper Universe
George Crowley Quartet
The young sax player sounding as fresh with old sounds as could be
Laurel Halo
When Fact magazine recently asked Brooklyn-based Laurel Halo what her debut album was concerned with, she answered: “Contrails, trauma, volatile chemicals, viruses .” Suffi ce to say, this ambient, cerebral record isn’t exactly, “I love you” set to a 4/4 beat. Remarkably, however, it manages to sidestep pretension at almost every turn, partly due to the near-naive vocals that dominate the warm crackle and glow. On Years, the voice wobbles like a imitation of Auto-Tune, reaching for rapid changes in notes and never quite achieving mechanical perfection, which is unsettling and oddly beautiful. This sets an apt tone for the rest of the disc. The prettiness may seem surprising given the violence of the subject matter, but this is tempered by a growing sense of unease , and it grows in power with repeated listens. Rebecca Nicholson To download or buy any reviewed CD, go to or call 0330 333 6840. Death-or-glory manifesto … Patti Smith
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01.06.12 The Guardian 27
Koechlin: Magicien Orchestrateur
Stuttgart SWR RSO/
Charles Koechlin ’s list of original works includes well over 200 opus numbers, but he was also a prodigious and skilled orchestrator, transcribing his own chamber pieces and music by other composers . Th is disc is devoted to the best known of those transcriptions ; the earliest is a seven-movement suite from his straightforward orchestration of the incidental music his teacher Fauré had composed to Maeter linck’s play Pelléas et Mélisande in 1898.
It’s the version regularly performed, and Debussy’s legende dansé Khamma is only ever performed in Koechlin’s orchestration, too. It was completed after Debussy lost interest in his commission to compose a ballet for the Canadian dancer Maud All an ; Koechlin was brought in to turn the piano score into orchestral form. Allan never danced it, and the music was not performed until six years after Debussy’s death. Koechlin’s version is luminous and supple; Khamma is comparable in scale with Jeux, which followed soon after , and was to be one of Debussy’s greatest achievements, though Koechlin insisted the more austere Khamma was superior .
In some respects, though, it’s two other pieces here, an orchestration of Schubert’s Wanderer Fantasy for solo piano and orchestra and the trans-
cription of Chabrier’s Bourrée Fantasque that show Koechlin’s skills at their best. There’s no attempt in either to imitate the style of another composer, as there inevitably is in the Debussy and Fauré; both are just exercises in supreme orchestral craft – preserving the virtuoso edge in the Wanderer Fantasy, distilling the wit and charm of Chabrier’s miniature into a brilliant showpiece. Heinz Holliger and the SWR Orchestra play all these pieces with the right suave elegance ; it’s a charming collection. Andrew Clements Avishai Cohen/
Nitai Hershkovits
From a jazz angle, this is the perfect Avishai Cohen album. The Israeli bassist and composer is an inspired composer of folk melodies with jazz, Reviews Classical, jazz and folk
Fine storytelling … Mississippi John Hurt appears on Make It Your Sound, Make It Your Scene
More reviews online
Read our critics’ verdicts on the rest of the week’s classical, jazz and folk releases
To download or buy any reviewed CD, go to or call 0330 333 6840. Various Artists
Make It Your Sound, Make It Your Scene
Subtitled Vanguard Records and the 1960s Musical Revolution, this is an 83-track box set that tells the story of one of America’s bravest record labels. Founded by the brothers Seymour and Maynard Solomon , who were remarkable for their eclectic taste, Vanguard championed anything from traditional to experimental styles, and also recorded every Newport folk festival. John Crosby’s compilation starts out with blues and gospel, from a stomping Big Bill Broonzy song to the fi ne storytelling of Mississippi John Hurt and the remarkable guitar and vocal work of Reverend Gary Davis . T here are country songs from Doc Watson , Mike Seeger and Hedy West , while the folk singers include the Weavers, Odetta and Bob Dylan , with a previously unreleased version of North Country Blues, recorded at Newport in 1963. Then there’s anti-Vietnam protest from Phil Ochs and the bleakly witty and furious Country Joe and the Fish , along with adventurous acoustic guitar work from John Fahey . The rock tracks from Frost are forgettable, but it’s an impressive, historic set. Robin Denselow classical and Middle Eastern resonances, and that melodic gift extends to his double-bass improvising – listeners don’t go to the bar when the bass solos start if it’s Cohen on the bandstand. All his strengths and none of his drawbacks ( such as the defi nitely acquired taste of his rather self-
conscious singing) are showcased here – and all the more clearly as this album is an unadorned acoustic duo conversation. Cohen’s partner here is the remarkable 24-year-old Tel Aviv pianist Nitai Hershkovits , who is somewhat reminiscent of a silky-toned old piano swinger such as the late Hank Jones . There are tranquil pieces of typically lullaby-like Cohen charm ; there’s a jaunty, traditional swing piece that takes off into a walking bassline under a playful piano melody ; some baroque-sounding episodes underpinned by rich, bowed sounds ; and slow, chordal ballads with bass improvisations full of impromptu pretty tunes. It’s low-key, but exquisitely done. John Fordham Monteverdi: Il Ritorno d’Ulisse in Patria
La Venexiana/Cavina
Claudio Cavina and his wonderfully accomplished group have already recorded all of Monteverdi’s madrigals, and with this version of Il Ritorno d’Ulisse they round off their survey of his three surviving operas, too. Those who have admired La Venexiana’s Orfeo and Poppea shouldn’t hesitate. The tone of the performance, dramatically expressive and crisply conversational, is set by Calvina himself; as well as conducting, his is the fi rst voice to be heard, singing the role of Human Frailty in the prologue, and the sense of an ensemble performance is consistently conveyed. There are no spot-lit star performances, though both José Maria Lo Monaco as Penelope and Anicio Zorzi Giustiniani as Ulysses are wonderfully, humanely characterised – their closing duet is all the more touching for being understated – and at the opposite end of the opera’s dramatic spectrum, Luca Dordolo is suitably OTT as Irus. With a small group of orchestral strings, Cavina keeps the textures light, and in a sleeve note he does admit to making some small changes to the score where he thinks a third party might have tidied up Monteverdi’s manuscript. AC 28 The Guardian 01.06.12
Reviews Television
GET INVOLVED Join our liveblog this Sunday from 8.30pm as we discover the identity of Lord Sugar’s latest Apprentice:
A week in radio
DJ John Cooper Clarke
“I’ve been wanting to do this DJ lark ever since I fi rst saw Pete Murray on Juke Box Jury,” John Cooper Clarke explained at the end of his four-week stint on A Month of Sundays (6 Music). “He was always sitting between two stunners.” From this, Clarke deduced that the life of a DJ would consist mostly of “beating chicks off with a fi lthy stick, yeah.”
Clarke has been a brilliant presenter: quirky, funny, eclectic and blessed with a hypnotic delivery, so that every single word grabs you. “Punk rock you want? Punk rock you’re gonna get,” he snarled. “Here comes da news,” he drawled. Nancy Sinatra’s Sugar Town is described as “freakin’ sweet”; Tom Jones’s fi rst single prompted this diagnosis: “I’m no qualifi ed GP, but it sounds as if he’s got the bug there.” He has the knack of creating a unique atmosphere for the show, playing great tracks you wouldn’t otherwise hear side by side, and keeping the show a little bit oddball and unpredictable, but also friendly. More please, 6 Music.
Liza Tarbuck (Radio 2, Saturday) now sounds more comfortable in her Saturday evening slot – vacated by Alan Carr – than in the opening show, and she has huge likability. The music is pretty easy-going and rather classy, and she’s more fl uid going in and out of tracks than she used to be.
But here’s the problem with the show: it’s too laden with interactive features. Audience content is great if it’s lively or hilarious, but this isn’t reliably either. Last week’s t opics included listener tales of losing things that then turned up in extraordinary places or years later; a snoozy topic if ever there was one. Some of the other features – a song request called I Love Someone Over 70 – are better, but you’re left wanting to be entertained more by Tarbuck than a listener who lost their keys and then found them. Carr’s show had a great Saturday night energy about it; this show needs to fi nd a bit more of that.
Elisabeth Mahoney
Sam and Dean Winchester have followed in their father’s footsteps, entering the family business to track down and dispose of all things super-
natural. Throughout each of the seven series of Supernatural, we follow these swarthy, squabbling siblings as they crisscross America in their Chevrolet 66 Impala , a beautiful vintage motor that becomes something of a star in its own right. The boys investigat e paranormal events, local legends and even full-scale celestial war. On the way, they see their dad die, sell their souls, go to hell and back (literally), kiss a lot of women , and do battle with demons, angels, vampires and ghosts, almost all with ghastly teeth. At one point, they go toe-to-toe with Lucifer himself.
It’s a superb mash-up of Buff y and The X-Files , stomach-churningly gory and all wrapped up in a road movie format with a rock soundtrack ranging from AC/DC to Kansas . In each episode, our dynamic duo motor into some new town to explore some paranormal shenanigans : yet the writers don’t just give us thrilling one-
off adventures; they also build in some season-long story arcs – not least the one about that old problem, impending apocalypse.
In one very weird episode, Sam Your next box set
Supernatural and Dean ( Jared Padalecki and Jensen Ackles respectively) fi nd themselves dealing with a giant suicidal teddy , the manic depressive victim of a small town’s malicious wishing well . The bear can’t endure the horrors of modern life, but fi nds you can’t blow your brains out when all you’re full of is stuffi ng . Elsewhere, the focus widens out somewhat – to the over-
arching battle between heaven and hell that threatens to consume all humankind .
Despite all the fantastical high-
jinks, however, Supernatural is at heart a story about the bond between two brothers: ordinary boys who joke, weep, rescue each other, and incessantly bicker . Mystery Spot , a standout episode from season three that’s a skit on Groundhog Day , sees Sam, like Bill Murray in the movie, condemned to relive the same moments over and over, until he can work out how to break free. Only here, instead of getting to seduce Andie MacDowell , as Murray does, Sam has to watch as his brother Dean dies many times, repeatedly splattered in a perfect mix of horror and hilarity. It’s just one more pop culture reference in a show that’s crammed with them, playing off of everything from Back to the Future to Hammer Horror . Supernatural, which has just been commissioned for an eighth series by America’s CW network, is low-
brow telly at its fi nest. Two brothers drifting across the States in a cool car, hunting monsters to a kick-ass sound-
track – what more could you want? Daniel Bettridge f
eatures. A
t’s livel
y inc
– S
Comfortable … Liza Tarbuck; (above) Jared Padalecki and Jensen Ackles in Supernatural
01.06.12 The Guardian 29
ere’s a little-known thing. There’s a department at the BBC, hidden away down a long corridor, called Operation Bulldog. Their job is solely to develop television programmes about what a brilliant place Britain is. They have a big map on the wall, which they stare at, trying to fi gure out how they’re going to further milk the land of ideas. Sometimes they’ll pin a picture to the map – a crab, a head (Giles Coren’s, a Dimbleby’s), a stately home, a puffi n.
They’ve done the coast of course (Coast actually now has its own break-
away team whose task is to try to fi gure out how many times they can lap Britain before the view ers notice or get too dizzy). They’ve done rocks and history; gannets, Romans, spring, Tudors, autumn, fossils, badgers, writers, people, landscape, houses, mountains, food, and plenty more .
When a job has been decided on, an expert, or team of experts, is assigned to present it – dusty historians, men and women with sturdy boots and outdoor clothing. Or they will hand it over to a television personality. Sometimes a seemingly random celebrity’s head is pinned to the board. An Idiot at Home.
You’d think they would be running out of ideas, but they’re good at Operation Bulldog, and the BBC has invested a lot in them. They have started combining things – food with history, for example. Or just fi nding ideas when you and I would stare at the map and fi nd none. Like this one perhaps: Britain’s Lost Routes with Griff Rhys Jones (BBC1). Britain’s Routes? Is that even a thing? I mean, the Silk Road to China I’d understand, or the Israelites’ path out of Egypt perhaps – routes with great histori-
cal or cultural signifi cance. But are there any great routes in Britain? Is it even big enough? Maybe I’ll do one: great hikes, around my garden, with Sam Wollaston. An Idiot Outdoors …
have some fun along the way. On a runway, with the help of dozens of members of the public and their cars, Griff recreates Elizabeth’s baggage train to show how big it was. (Very.) He has a ride in a litter, because that’s the way she would have travelled, and on a horse, because there would have been plenty of them about at the time. He fl ies a hawk and shoots a deer with an arrow, because Elizabeth I would have done a lot of that (though Griff ’s deer is a plastic one, presumably both because they are easier to hit and he doesn’t want his house fi rebombed by animal rights people).
Griff calls Elizabeth “Good Queen Bess” because he used to be a comedian, and he hasn’t lost the old irreverence. And he speaks in that funny way he has, with plenty of emphasis, kind of comedy-curmudgeonly. Maybe he is genuinely cross – he did do that anger programme, remember, before the mountains, I believe. Highs, lows, ups and downs.
It’s not just about Griff , though. He speaks to plenty of experts along the way. The bow-and-arrow lady, and the hawking man (noisily clears throat of phlegm). Also a historical ale expert, a map expert, a landscape expert, a house expert … that’s one of the brilliant things about travelling around this country, there’s an expert in something – anything, everything – almost literally behind every tree.
So this is a bit of a hybrid from Operation Bulldog – the past, the present celebrity/TV personality, getting involved, getting the public involved, plus experts. Oh, it’s OK, I suppose. Quite interesting. I still don’t really buy the route thing as an idea. And I’m also just a teeny bit bored of famous people wandering around Britain, looking for new ways to say it’s brilliant. Enough already. Last night's TV
I’m not sure Britain has got lost routes, but Griff is following them anyway …
By Sam Wollaston
Come on then, let’s give it a chance. So Griff – who did mountains, I seem to remember – is travelling from Wind-
sor to Bristol. Well, that’s easy: M4, exit 19, M32, you’re there. Should take him comfortably less than two hours, I reckon, depending on the traffi c, of course. But it’s not as easy as that. He’s making a Tudor journey, travelling in the footsteps of Elizabeth I, who used to wander around her realm in the summer months. So Griff is travelling in a 1964 Rolls-Royce Phantom 5, because … well, I’m not quite sure why, to be honest. Because it was built exactly 390 years, to the year, after the journey he’s replicating? Because the current Queen, who’s also called Elizabeth, has a similar set of wheels?
Anyway, off he goes, with his driver, Stuart (ha, on a Tudor journey). They AND ANOTHER THING
Tonight’s Elizabeth: Queen, Wife, Mother (ITV1, 9pm) is worth watching purely for some gold medal-
winning bum-lickery by Alan Titchmarsh.
In the footsteps of Good Queen Bess … Griff Rhys Jones and Tudor friends
30 The Guardian 01.06.12
Watch this
TV and radio
The Great British Story: A People’s History
9pm, BBC2 Episode two of Michael Wood’s chronicle deals with the arrival of the Vikings, and the emergence of Britain’s diff erent nations at a time when Bede saw the English (Anglo-Saxons) as compara-
tive newcomers. In keeping with the series’ bottom-up ethos, we’re whizzed around the country to see how ordinary people would have lived in the post-Roman dark ages. Telling details abound: a precursor to the rule of law lay in compensation values associated with body bits – six shillings for a front tooth, 150 shillings for genitals. Jonathan Wright
10pm, BBC2 With ratings plummeting on the show-within-the-show Pucks!, market research is called in to save the day. Matt LeBlanc, from bit-
ter experience, is no fan: “Yeah, research said Joey was gonna be a hit!” He’s even less happy when the results come in showing that another cast member’s hair is testing better with the audience than he is, leading to an episode where he’s practically written out of his own show. Elsewhere, Beverly is missing hanging out with Sean, and discover-
ing he has a Facebook page nearly sends her over the edge. Phelim O’Neill Punk Britannia
9pm, BBC4 When punk broke in the UK in 1976 most would have assumed it was a bout of short-lived juvenile delinquency. Its cultural eff ect, however, would be seismic and, as this new series shows, the forces that gave rise to it had been rumbling for a long time. Tonight we look at 1972 –76, the pre-punk years, which saw the emergence of pub rock triggered by the arrival in the UK of a US combo called Eggs Over Easy, and a rock’n’roll revival led by two collectors of 50s platters who formed the Chiswick label, home to the 101ers (later the Clash). There’s a real fl avour of the fustiness of the 70s mainstream, with Nick Lowe, John Lydon and Billy Idol among the many interviewees. David Stubbs
The Great British Story, BBC2
Channel 4
Pasquini, Szollosy, D Scarlatti, Handel, JS Bach, Busoni, CPE Bach, Sasnauskas, Granados, Bacewicz and Faure.
Radio 4
92.4-94.6 MHz; 198kHz
6.0 Today. News headlines and sport, with James Naughtie and Justin Webb. 9.0 Desert Island Discs. Kirsty Young talks to Denise Robertson. (R) 9.45 (LW) Act Of Worship. Led by the Rev Richard Chartres. 9.45 (FM) Book Of The Week: Midnight In Peking. By Paul French, abridged by Robin Brooks.
10.0 Woman’s Hour. Presented by Jenni Murray.
11.0 The DJ Derek — A Local Legend. The career of DJ Derek Serpell-Morris.
6.0pm Eggheads (S) 6.30 TOTP2 (S) Featuring Badfi nger, Elvis Costello and Cyndi Lauper. Last in the series.
6.0pm Local News (S) Weather
6.30 ITV News And Weather (S)
6.0pm The Simpsons (R) (S) (AD) The family hitch a train ride.
6.30 Hollyoaks (S) (AD) Will Doug tell Ste how he feels?
6.0pm BBC News (S) Weather
6.30 Regional News Programmes (S) Weather
7.30 Diamond Jubilee — The Queen On Tour (S) Jennie Bond reports on the Queen’s recent visit to south-
west England.
7.0 Emmerdale (S) (AD) Cain visits Zak.
7.30 Coronation Street (S) (AD) Tina discovers what Tommy’s been doing.
7.0 Channel 4 News (S) 7.30 Unreported World (S) Peter Oborne travels to Libya to see a country struggling with lawlessness in the wake of Gaddafi ’s fall.
7.55 (S) 7.0 The One Show (S) Presented by Chris Evans and Alex Jones. (Followed by BBC News; Regional News.)
8.0 Great British Menu (S) The two remaining chefs from the south-west region cook for the judges.
8.30 Gardeners’ World (S) Monty Don off ers advice on growing caulifl owers.
8.0 Poms In Paradise (S) Featuring a woman from Padstow who now runs her own small business in Bondi Beach. Last in series.
8.30 Coronation Street (S) (AD) The Underworld’s workforce walks out.
8.0 Come Dine With Me (S) Dinner party tension ratchets up in Hartlepool as a former holiday rep, a fi nancial adviser, a beautician and a student compete for the £1,000 prize.
8.0 A Jubilee Tribute To The Queen By The Prince Of Wales (S) (AD) Charles pays tribute to his mum. Featuring previously unseen photographs and home movies.
9.0 The Great British Story: A People’s History (S) (AD) Michael Wood charts how modern British identities took shape after the Dark Ages. Plus the impact of the Viking invasions.
9.0 Elizabeth: Queen, Wife, Mother (S) A profi le of the monarch. Featuring contributions from, among others, Prince William and Princess Anne. Narrated by Alan Titchmarsh.
9.0 8 Out Of 10 Cats (S) With guests Johnny Vegas, Vernon Kay, Paul Chowdhry and Katherine Ryan. Hosted by Jimmy Carr.
9.30 Very Important People (S) Impressions show. Last in the series.
9.0 EastEnders (S) (AD) Worried Jean wants her cash back from Michael.
9.30 Have I Got News For You (S) Hosted by Alastair Campbell.
11.0 The Review Show (S) Chaired by Kirsty Wark. 11.45 Weather (S)
11.50 Frida (Julie Taymor, 2002) (S) Excellent biopic of Mexican artist Frida Kahlo. Salma Hayek and Valeria Golino star.
11.05 Stand Up For The Week (S) Jon Richardson hosts the satirical comedy show.
11.55 Channel 4’s Comedy Gala (R) (S) Jessie J opens the third annual charity event in aid of Great Ormond Street Hospital.
11.20 The National Lottery Friday Night Draws (S) 11.30 White Van Man (S) New series. Ollie replaces the job book with a smartphone app. Comedy, starring Will Mellor.
Radio 3
90.2-92.4 MHz
6.30 Breakfast. Music, news and the occasional surprise, presented by Petroc Trelawny. 9.0 Essential Classics. Sarah Walker introduces the Essential CD of the Week, and performances by the Artist of the Week, Stephen Layton and his choir, Polyphony. Her guest is architect Ptolemy Dean.
12.0 Composer Of The Week: Irving Berlin. Donald Macleod looks at Berlin’s fi nal projects, including the Broadway musical Mr President, and his intended Radio
swansong to the cinema, Say It with Music.
1.0 Radio 3 Lunchtime Concert. The Elias String Quartet and guitarist Xuefei Yang perform Boccherini’s “Fandango” Guitar Quintet, plus Mendelssohn’s last composition and a solo guitar work by Bach.
2.0 Afternoon On 3. Louise Fryer introduces the fi nal two acts of Handel’s Teseo, performed at the Gottingen International Handel Festival 2011, with soprano Susanne Ryden in the title role.
4.30 In Tune. Sean Raff erty presents a Diamond Jubilee-
themed edition, with guests and live music looking forward to the weekend’s royal celebrations.
6.30 Composer Of The Week: Irving Berlin. Donald Macleod looks at Berlin’s fi nal projects, including the Broadway musical Mr President, and his intended swansong to the cinema, Say It with Music. (R)
7.30 Radio 3 Live In Concert. Catherine Bott presents the opening concert from this year’s English Music Festival, live from Dorchester Abbey, featuring works by Parry, Ireland, Vaughan Williams and others.
10.0 The Verb. Ian McMillan showcases new writing, performance and global literature.
10.45 The Essay. Critic James Wood examines how novels deal with the end of life, and the absence of talk and sensation. (R)
11.0 World On 3. A session by the Cypriot contemporary rembetika group Trio Tekke.
1.0 Through The Night. Including music by Lebeck, Frescobaldi, Bernardo, 10.0 Episodes (S) (AD) The network wants Sean and Beverly to reduce Matt’s role in Pucks! 10.30 Newsnight (S) With Gavin Esler.
10.10 ITV News And Weather (S)
10.40 Local News/
Weather (S)
10.45 Stiff Upper Lips (Gary Sinyor, 1998) Amusing Edwardian-
set comedy. Starring Peter Ustinov and Prunella Scales.
10.0 Alan Carr: Chatty Man (S) With Michael McIntyre, Kylie Minogue and X Factor winners Little Mix. Plus music from Kaiser Chiefs. Last in the series.
10.0 BBC News (S)
10.25 Regional News And Weather (S)
10.35 The Graham Norton Show (S) With guests Jon Hamm, Steve Coogan and Charlize Theron.
Film of the day
Monsters (9pm, Film4) Photojournalist Scoot McNairy reluctantly escorts his boss’s daughter (Whitney Able) through a Mexican forest full of huge alien beasts: an edgy, convincing love story – with monsters.
01.06.12 The Guardian 31
Other channels
6.0pm The Big Bang Theory. The friends fi ght over a ring they believe was used in The Lord of the Rings. 6.30 The Big Bang Theory. Sheldon receives a prestigious prize. 7.0 Hollyoaks. The McQueens throw a village-
wide party to celebrate the Diamond Jubilee. 7.30 How I Met Your Mother. Barney sleeps with seven women on consecutive nights. 8.0 The Big Bang Theory. Sheldon and Leonard try to mould Penny’s behaviour. 8.30 2 Broke Girls. Max and Caroline fi nd a way of making money. 9.0 Beverly Hills Cop III. Comedy sequel, starring Eddie Murphy. 11.0 Shameless. The Chatsworth estate is plunged into darkness. Film4
6.50pm The Duellists. Period drama, starring Harvey Keitel and Keith Carradine. 8.50 Prometheus Interview Special. The cast and director discuss the sci-fi thriller. 9.0 Monsters. Sci-fi drama, with Whitney Able and Scoot McNairy. 10.50 Friday The 13th. Horror remake, starring Jared Padalecki. FX
6.0pm Falling Skies. Tom and Hal try to gather more motorcycles for the 2nd Massachusetts. 7.0 NCIS. The team suspects a marine has faked his own death. 8.0 NCIS. The team hunts for a serial killer. 9.0 NCIS. Gibbs and the team track an arsonist. 10.0 Dexter. Dexter tries to identify the Doomsday Killers’ next victim. 11.05 Family Guy. Peter injures his hand in a fi reworks accident. 11.35 Family Guy. Lois becomes a sex education teacher. ITV2
6.0pm The Jeremy Kyle Show USA. The host takes his successful talk-show stateside. 7.0 The Cube. A 31-year-old Scotsman takes on the challenge. 8.0 You’ve Been Framed! Harry Hill narrates camcorder calamities. 8.30 You’ve Been Framed! Harry Hill narrates camcorder calamities. 9.0 The Big Quiz — Benidorm V Essex. Stars from The Only Way Is Essex and Benidorm go head to head. 10.0 The Only Way Is Essex. Reality programme following a group of people in Essex. Last in the series. 10.45 Channel 5 BBC3 BBC4 Atlantic
Peter Andre: My Life. Peter falls in love while fi lming Keith Lemon’s latest TV show. 11.45 The Fugitive. Thriller, starring Harrison Ford. Sky1
6.0pm The Middle. Frankie makes a deal with her children. 6.30 Futurama. Fry becomes more intelligent. 7.0 The Simpsons. Homer and Marge reignite their love life. 7.30 The Simpsons. Lisa uncovers an unusual fossil. 8.0 Futurama. First episode of the sci-fi animation series. 8.30 The Simpsons. Homer enrols on a fathering enrichment course. 9.0 A League Of Their Own. With Graeme Souness, Gabby Logan and Kevin Bridges. 10.0 An Idiot Abroad 2. Karl Pilkington travels to Australia to swim with dolphins. 11.0 Glee: The Concert Movie. Behind the scenes of the TV series’ concert tour. Sky Arts 1
6.0pm From The Basement. Performances by the Raconteurs, Mercury Rev and Seasick Steve. 6.55 The Jo Whiley Music Show. A performance by Massive Attack. 7.0 The South Bank Show. The arts show returns with a profi le of theatre director Nicholas Hytner. 8.0 All You Need Is Love. The origins of American popular music. 9.0 Live At The Criterion. A discussion between Nigella Lawson and Kirsty Young. 10.0 Queen — The Magic Years. Documentary about the rock group’s rise to fame. 11.05 Freddie Mercury: The Tribute Concert. Highlights of the 1992 concert. TCM
7.10pm Elvis: That’s The Way It Is. The King in concert. 9.0 Disclosure. Thriller, starring Michael Douglas and Demi Moore. 11.25 2 Days In The Valley. Thriller, starring Danny Aiello.
4.0 Last Word. Obituary series, with Matthew Bannister.
4.30 Feedback. New series. Listeners’ views.
4.55 The Listening Project. Members of the public share intimate conversations.
5.0 PM. With Eddie Mair.
5.57 Weather
6.0 Six O’Clock News
6.30 The News Quiz. With Jeremy Hardy, Andy Hamilton, Rebecca Front and Susan Calman. Last in the series.
7.0 The Archers. Everything is falling apart for Clarrie.
7.15 Front Row. Kirsty Lang presents.
7.45 Incredible Women. Featuring Andrea Wickham, the self-styled “People’s Diva”.
8.0 Any Questions? From Methodist College Belfast.
8.50 A Point Of View. Refl ections on a topical issue.
9.0 Honest Doubt: The History Of An Epic Struggle. Omnibus. The relationship between faith and doubt.
9.59 Weather
10.0 The World Tonight. News round-up.
10.45 Book At Bedtime: Jubilee. By Shelley Harris.
11.0 A Good Read. Steve Backshall and Geraldine Bedell discuss their favourite books. (R)
11.30 What’s So Great About Chaucer? Lenny Henry examines his antipathy to Geoff rey Chaucer. Last in the series. (R)
11.55 The Listening Project. Members of the public share intimate conversations.
12.0 News And Weather 12.30 Book Of The Week: Midnight In Peking. By Paul French, abridged by Robin Brooks. (R) 12.48 Shipping Forecast Radio 4 Extra
Digital only
6.0 Dixon Of Dock Green 6.30 Over An Absinthe Bottle 7.0 Smelling Of Roses 7.30 Tonight 8.0 The Navy Lark 8.30 The Burkiss Way 9.0 Are You From The Bugle? 9.30 Tickets Please
10.0 Vivat Rex
11.0 The Distant Past
11.15 Captain Corelli’s Mandolin
12.0 The Navy Lark
12.30 The Burkiss Way
1.0 Dixon Of Dock Green
1.30 Over An Absinthe Bottle
2.0 Chronicles Of Ait — Echo Beach
2.15 This Sceptred Isle
2.30 The Uncommon Reader
2.45 Someone Like Me
3.0 Vivat Rex 4.0 The 4 O’Clock Show 5.0 Millport
5.30 Smelling Of Roses
6.0 Space Force
6.30 Doctor Who: The Architects Of History
7.0 The Navy Lark
7.30 The Burkiss Way
8.0 Dixon Of Dock Green
8.30 Over An Absinthe Bottle
9.0 The Distant Past
9.15 Captain Corelli’s Mandolin
10.0 Comedy Club: Tonight
10.30 On The Hour
11.0 Sorry About Last Night
11.30 The Cabaret Of Dr Caligari
12.0 Space Force 12.30 Doctor Who: The Architects Of History 1.0 Dixon Of Dock Green 1.30 Over An Absinthe Bottle 2.0 Are You From The Bugle? 2.30 Tickets Please 3.0 Vivat Rex 4.0 The Distant Past 4.15 Captain Corelli’s Mandolin 5.0 Millport 5.30 Smelling Of Roses
World Service
Digital and 198 kHz after R4
8.30 Business Daily 8.50 From Our Own Correspondent 9.0 News 9.06 HARDtalk 9.30 The Strand 9.50 Witness 10.0 World Update 11.0 World Briefi ng 11.30 Science In Action 11.50 From Our Own Correspondent 12.0 World, Have Your Say 12.30 Business Daily 12.50 Sports News 1.0 News 1.06 HARDtalk 1.30 World Football 2.0 Newshour 3.0 World Briefi ng 3.30 The Strand 3.50 From Our Own Correspondent 4.0 News 4.06 HARDtalk 4.30 More4
11.30 Births, Deaths And Marriages. Comedy, by David Schneider.
12.0 News
12.04 You And Yours. Consumer aff airs.
12.52 The Listening Project. Members of the public share intimate conversations.
12.57 Weather
1.0 The World At One. Presented by James Robbins.
1.45 Honest Doubt: The History Of An Epic Struggle. The work and inner confl ict of medieval mystics.
2.0 The Archers. Harry is press-ganged.
2.15 Afternoon Drama: Depth Charge. By Fiona Mackie. (R)
3.0 Gardeners’ Question Time. From South Oxhey, Hertfordshire.
3.45 Half-Light. Henry Drake Goes Home by Neil M Gunn. Last in the series.
6.0pm Home And Away (R) (S) (AD) Romeo sustains a serious knee injury.
6.30 5 News At 6.30 (S) 6.50pm Come Dine With Me (R) (S) A quartet from Sheffi eld compete in the dinner party challenge.
6.0pm ER (R) (S) Greene’s ex-wife refuses him access to their daughter.
7.0 War Hero In My Family (R) (S) Pamela Stephenson Connolly charts her patriotic uncle’s service in the second world war. (Shown Tuesday; followed by 5 News Update.)
7.0pm The Apprentice (R) (S) The candidates have to create luxury products to sell at aff ordable prices. One team chooses male grooming products, the other opts for confectionary.
7.0pm World News Today (S) Weather
7.30 Gershwin At The Proms (R) (S) Charles Hazlewood conducts the BBC Concert Orchestra in performances of works by George Gershwin.
7.55 Grand Designs Australia (R) (S) An architect and his partner get round the high land prices in Sydney’s Surry Hills suburb by opting to build tall.
7.0 House The medics treat a patient suff ering from recurring strokes.
8.0 The Olympic Aquatic Centre: Mega Builders (S) Following the construction of a 3,000-ton steel roof for the London 2012 Olympics Aquatic Centre. (Followed by 5 News At 9.)
8.0 World’s Craziest Fools (R) (S) Internet clips and home video silliness, presented by Mr T.
8.30 Snog, Marry, Avoid? (R) (S) A wannabe wag gets a ‘makeunder’.
8.0 Gershwin’s Summertime: The Song That Conquered The World (R) (S) How the song Summertime, which made its bow in the in 1935 opera Porgy and Bess, became a standard.
8.0 Blue Bloods (R) (S) (AD) Danny investigates a series of attacks at a local college campus.
9.0 The Mentalist (S) Jane’s at a low over his attempts to capture Red John. Lisbon and the team search for the killer of an unidentifi ed victim. Last in the series.
9.0 How To Be England Manager (R) (S) Tim Lovejoy assesses what it takes to manage the English national football team. Contributors include Sven Goran-Eriksson and Graham Taylor.
9.0 Punk Britannia (S) New series charting the rise of punk music in the 1970s. First up, the years 1972-76 and the rise of pub rock with bands such as Dr Feelgood and Eddie and the Hotrods.
9.0 Brokeback Mountain (Ang Lee, 2005) (S) (AD) Powerful western-
drama charting the ill-starred love aff air between two cowboys. Starring Heath Ledger and Jake Gyllenhaal.
9.0 Blue Bloods (R) (S) (AD) An off -duty policeman is killed during a diamond heist. Erin has trouble coping with her teenage daughter.
11.55 Inside Hollywood Tinseltown magazine show.
11.15 Family Guy (R) (S) Brian meets up with an old fl ame.
11.35 Family Guy (R) (S) Peter begins acting like a pirate.
11.0 We Who Wait: TV Smith & The Adverts (S) Tracing the history of punk band the Adverts, who scored a hit with Gary Gilmore’s Eyes. Plus how frontman TV Smith doggedly built a post-punk solo career.
11.40 Accused: The 74 Stone Babysitter (R) (S) Charting a high-profi le trial in which a morbidly obese Texan woman confessed to beating her two-year-old nephew to death.
11.0 The Wire (R) (S) A child gets caught in the cross-fi re during a shoot-out. A dapper but sinister fi gure arrives in the city.
10.0 Castle (S) Beckett and Castle investigate the death of an ex-baseball star.
10.55 Law & Order: Criminal Intent (R) (S) Goren and Eames uncover a private school link between three murder victims .
10.0 EastEnders (R) (S) (AD) Worried Jean wants her cash back from Michael.
10.30 Russell Howard’s Good News Extra (S) Extended version of yesterday’s show.
10.0 Top Of The Pops: The Story Of 1977 (R) (S) Looking back at how the chart show dealt with the rise of punk and new wave.
10.0 Awake (S) Britten becomes a suspect in a murder case. With Jason Isaacs as a cop who switches between two realities.
Sport Today 4.50 Witness 5.0 World Briefi ng 5.30 World Business Report 6.0 World, Have Your Say 7.0 World Briefi ng 7.30 One Planet 7.50 From Our Own Correspondent 8.0 News 8.06 HARDtalk 8.30 World Football 9.0 Newshour 10.0 World Briefi ng 10.30 World Business Report 11.0 World Briefi ng 11.30 The Strand 11.50 Sports News 12.0 World Briefi ng 12.30 World Football 1.0 World Briefi ng 1.30 World Business Report 1.50 From Our Own Correspondent 2.0 News 2.06 HARDtalk 2.30 World Football 3.0 The World Today 3.30 The Strand 3.50 Witness 4.0 News 4.06 Assignment 4.30 One Planet 4.50 From Our Own Correspondent 5.0 The World Today 5.20 Sports News 5.30 Global Business Brokeback Mountain, More4
Full TV listings
For comprehensive programme details see the Guardian Guide every Saturday or go to
32 The Guardian 01.06.12
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Hard. Fill in the grid so that each run of squares adds up to the total in the box above or to the left. Use only numbers 1-9, and never use a number more than once per run (a number may recur in the same row, in a separate run).
Printable version at guardian.
A great range of puzzle books is available from Guardian Books. To order, visit or call 0845 606 4232.
17 23
15 20
4 23 4
17 11 17
11 7 11
32 29
16 4
29 17
13 18 24
3 20 16
16 22 3
16 17
22 7
6 9 8 1 2 9 7
8 9 7 6 3 1 8 9 6
9 7 4 1 2 5 4 1 2
3 1 3 4 2 1 3 1
8 5 9 4 3 9
7 8 9 4 6 8 9 7
9 7 4 7 2 1 8 8 9
8 9 6 5 1 3 2 4
7 9 8 1 3 4
9 7 7 6 8 9 1 2
8 9 3 6 9 7 8 7 9
4 1 2 8 6 9 7 6 8
3 1 9 7 6 9 8
Doonesbury Garry Trudeau
Solution no 1293
Kakuro no 1294
Sudoku no 2202
3 8 4 6 2
4 1
7 1 2
4 2 5 9
2 9 8
6 7
4 6 2 9 3
Hard. Fill the grid so that each row, column and 3x3 box contains the numbers 1-9. Printable version at
Stuck? For help call 0906 751 0036. Calls cost 77p a minute from a BT Landline. Calls from other networks may vary and mobiles will be considerably higher. Service supplied by ATS. Call 0844 836 9769 for customer service (charged at local rate, 2p a min from a BT landline). Free tough puzzles at
6 8 4 7 1 2 3 5 9
3 7 1 4 5 9 2 8 6
2 9 5 3 8 6 7 1 4
7 5 3 9 4 8 1 6 2
9 1 2 6 3 5 4 7 8
4 6 8 1 2 7 9 3 5
5 4 7 2 6 1 8 9 3
1 2 6 8 9 3 5 4 7
8 3 9 5 7 4 6 2 1
Solution to no 2201
Quick crossword no 13,124
1 2 3 4 5 6 7
8 9
10 11
13 14 15
17 18 19
21 22 23
1 Greenhouse gas (6,7)
8 Uncomplaining — tolerant (7)
9 Cheat (anag) (5)
10 Off end(ed) (4)
11 Floor covering (8)
13 Given to reckless behaviour (6)
14 Reddish metallic element (6)
17 Drug producing torpor (8)
19 By mouth (4)
21 Nymph (5)
22 Merciful (7)
24 One engaged in commercial (or political) scheming (7-6)
1 Headgear (3)
2 No longer working (7)
3 Cooking device (4)
4 Hold back — arrest (6)
5 Conformist (8)
6 Angry (5)
7 Short lived (9)
10 Shilly-shally (3,3,3)
12 Impressive in appearance (8)
15 Composer of Dido and Aeneas, d. 1695 (7)
16 Executioner (6)
18 Itinerary (5)
20 Leg joint (4)
23 Dark viscous substance (3)
Solution no 13,123
Stuck? For help call 0906 751 0039 or text GUARDIANQ followed by a space, the day and date the crossword appeared another space and the CLUE reference to 85010 (e.g GUARDIANQ Wednesday24 Down20). Calls cost 77p a minute from a BT Landline. Calls from other networks may vary and mobiles will be considerably higher. Texts cost 50p a clue plus standard network charges. Service supplied by ATS. Call 0844 836 9769 for customer service (charged at local rate, 2p a min from a BT landline). Want more? Access over 4,000 archive puzzles at Buy all four Guardian quick crosswords books for only £20 inc UK p&p (save £7.96). Visit or call 0330 333 6846.
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the guardian G2 - Friday, 01 Jun 2012
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