Tag Archives: Andy Polaris

➤ Starman given new life by David McAlmont in concert

 david bowie, David McAlmont, Hideaway, Janette Mason, Sam Obernik, Wall-to-Wall-Bowie, live concert, jazz, review, Andy Polaris,

David McAlmont (centre) live at Hideaway: pictured with Simon Little on bass, vocalist Sam Obernik and Emlyn Francis on guitar


❏ Former singer Andy Polaris joins an annual celebration of David Bowie’s music at Streatham’s Hideaway wine-and-dine venue in south London. Here’s an excerpt from his review at his website apolarisview . . .

We were told Wall to Wall Bowie was a celebration, not a wake, as vocalist and songwriter David McAlmont unleashed a varied selection from Bowie’s back catalogue with an accomplished backing band. Dressed almost low-key in dark shirt and trousers, he opened with Watch That Man and immediately we realised these would be interpretations, not pure Xerox copies, and all the better for it.

Suffragette City followed, then Sweet Thing, one of the first stand-outs of the night from Diamond Dogs, elegantly capturing this favourite moody gem, stripped back to reveal the solemn beauty of the lyrics. Starman dazzled despite McAlmont’s irritation at suffering from a cold. Partner in crime Sam Obernik poured herself into a leopard print rubber dress and joined him for vocal duties on theatrical renditions of Changes and Life on Mars. The jaunty duet of Let’s Dance and an almost louche Turkish-infused lilt to The Man Who Sold The World made me imagine them as the house band for David Lynch’s Twin Peaks…/ Continued at apolarisview

➢ A Wall to Wall Bowie five-track EP featuring McAlmont and Obernik is available via musical director Janette Mason’s shop

BLACKSTAR LIVE AT HIDEAWAY IN 2016

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➤ Andy Polaris loads up his own fantabulous Yuletide jukebox

festive songs, Eartha Kitt, Santa Baby, underrated gems , Andy Polaris,

Remember Eartha Kitt? – the sauciest thing on Fifties TV

CHRISTMAS BRINGS OUT a lot of musical schmaltz over the festive period, most of which is consumed in earnest like mince pies and mulled wine. So Andy Polaris – frontman in Eighties popsters Animal Nightlife – decided to dig around Santa’s vintage vinyl to find some more discerning winter jukebox favourites to present his Dozen Festive Songs that Slay. Among his underrated gems we hear from Bob Dylan, Darlene Love, Eartha Kitt, George Michael, k.d.lang, Kurtis Blow, Marvin Gaye, Poly Styrene, Santa Baby, Sounds of Blackness, The Emotions and The Waitresses. Here’s a delicious novelty number from Stevie Wonder – One Little Christmas Tree. Andy says on his blog: “Perfectly synced with a Charlie Brown cartoon episode, this sweet narrative below is new to my ears and deserves a wider audience especially with Stevie’s storytelling clarity.”


➢ Visit APolarisView for videos of all of his
Dozen Festive Songs that Slay

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➤ How Nile Rodgers “rearranged” Bowie’s Let’s Dance into a stonking hit single

David Bowie, Nile Rodgers, Let’s Dance, Meltdown, South Bank Centre, soul music,

Twin geniuses: Bowie and Rodgers photographed by Ebet Roberts

AMONG MANY SENSATIONS during three foot-tapping hours in the company of Nile Rodgers on Saturday night was a rare audio track possibly being played out in public for the first time. Rodgers is not only curating this year’s prestigious South Bank Meltdown festival in London but his own band Chic headlined the opening night with a mighty seamless stream of dance-floor hits. Rodgers preceded the concert with a lengthy talk about his unrivalled career as one of the most influential record producers ever, an icon of black excellence along with Quincy Jones and Stevie Wonder.

He described how he had met David Bowie in the early 80s and as they bonded over their love of jazz, Rodgers says he “realised that David Bowie was the Picasso of rock’n’roll”, meaning his gift for thinking in the abstract. They were soon collaborating over Bowie’s album Let’s Dance, released in April 1983, almost three years after his previous album, Scary Monsters.

More specifically, once Bowie had joked “Is there such a thing as too funky?” Rodgers set about doing what any jazzman does – he was “rearranging” Bowie’s music in their studio sessions. And on Saturday Rodgers told this electrifying yarn by playing us Take One of the slightly protracted Let’s Dance session that started with Bowie in dirge-like mode. Eighties singer Andy Polaris tells it like this in his review of the Meltdown show:

In one extraordinary sequence Rodgers revealed the genesis of his collaboration with David Bowie on Let’s Dance. It was thrilling to listen to a rare recording few people have ever heard as the track was transformed from an almost twee throwaway song into the rhythmic funky stomper that it became. During the first take in the studio, we heard Nile introducing David to his arrangement and Bowie experimenting with melodies and phrasing while Nile carefully coaxed him by explaining the number’s metamorphosis. We listened as David gradually grew more excited, climaxing in obvious satisfaction when he finally “got it” – this, the single that would become his biggest hit! The whole episode provided a revealing insight into how Nile works as both a guitarist and a producer and was a rare treat for Bowie fans in the audience…

David Bowie, Nile Rodgers, Let’s Dance, albums, 1983, soul music,

Let’s Dance: Bowie’s biggest selling album

MORE ON THE BOWIE-RODGERS PARTNERSHIP

➢ “I thought I was going to get fired over my riff to China Girl because it’s so corny. But he heard it and went, That’s amazing!” – Pitchfork 2016:
As a black man in America, there’s not a day that goes by that I’m not reminded of being black. It has nothing to do with me. Some people are just uncomfortable with my presence. It’s never gone away. With Bowie, though, I never felt that at all. He made Let’s Dance with me and guys that he never even met, but he had enough faith to allow me to completely take over. He was like, ‘Nile, take my vision and make it real. You be the impresario.’

The whole album was completed and mixed in 17 days. There’s no four different versions of Let’s Dance, no five versions of Modern Love. That’s just it. Done. End of story. A huge amount of the time he spent sitting in the lounge watching TV and then he would just come in and check and go ‘Wow!’ and then he would leave. And I’m thinking to myself, ‘This is the highest form of respect that anyone has ever given to me’. . .

David Bowie, Nile Rodgers, Let’s Dance, Meltdown, South Bank Centre, soul music,

Evergreen: Bowie and Rodgers photographed by Peter Gabriel

➢ The producer of Let’s Dance, Bowie’s biggest-selling album, asked the singer if he’d made it too funky. ‘Is there such a thing?’ he replied – from the Guardian 2016:
Before we wrote a single piece of music for [Let’s Dance], we did a research project where we played lots of records and talked about what the album wanted to say, how it should sound as a whole. Then one day David said: ‘Nile, this is what I want my album to sound like’ and he showed me a picture of Little Richard in a red suit getting into a red Cadillac convertible. How do you translate that?! But in actual fact I knew exactly what he meant, and that was the point I realised that David Bowie was the Picasso of rock’n’roll. He got uncomfortable with me calling him that but I did it anyway. Because I realised he saw the world in an abstract way, as well as in the way we all see it. And what that picture meant was not that he wanted a retro record, or something based on Little Richard’s music, but that he wanted something that would always look modern. He showed me the future and the past and it was evergreen. The highly designed Cadillac and the red monochromatic suit – that picture was taken in the 1960s but it would still look modern to someone in the year 3000! . . .”

➢ Meltdown 2019, curated by Nile Rodgers, runs at London’s South Bank Centre 3–11 August

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2019 ➤ Lawrie’s Eleven talk candidly of being young black and gay in ways many of us never knew

Black issues, film, Vogue Fabrics Dalston, Beyond There’s always a black issue Dear,Claire Lawrie,

Discussion following Beyond at Vogue Fabrics Dalston: around Claire Lawrie wearing white), Andy Polaris, Roy Brown, David Holah, Iain R Webb, Greg Davis. (Photo Shapersofthe80s)


WELL THAT WAS A HILARIOUS BOUT OF GAY BANTER following the first community screening of director Claire Lawrie’s Iris prize-winning short documentary featuring eleven highly individual creatives telling their stories about growing up black and queer in 1970s and 80s Britain. Thursday’s screening at Vogue Fabrics Dalston of Beyond “There’s always a black issue, Dear” was as moving and thoughtful as it was entertaining. Joining Claire in Thursday’s follow-on discussion were some of its stars, Frank Akinsete, Andy Polaris, Roy Brown and Winn Austin, plus David Holah, Iain R Webb, Greg Davis, Shaun Cole and other individualists who made their mark before and during Margaret Thatcher’s regime.

Navigating their gender-fluid youth in this period of cultural and political turbulence saw the protagonists tackling things their own way. London’s alternative nightclub scene provided sanctuary for disco to meet soul and punks  to become Blitz Kids. As fierce LGBTQ trailblazers, the cast recount vivid memories which tell of singular determination and of resisting definition, through dance, art, fashion and music and seeing their ideas appropriated by the mainstream. The film acknowledges the importance of family, whether as parents or a group of like-minded friends. “You needed somewhere to go where you felt good about yourself,” and in the post-punk moment that meant Soho nightclubs such as Crackers and Billy’s.

Black issues, film, Vogue Fabrics Dalston, Beyond There’s always a black issue Dear,Claire Lawrie,

Claire Lawrie with guests outside Vogue Fabrics Dalston: Frank Akinsete, Pippa Brooks, Winn Austin. (Photo Andy Polaris)

In Thursday’s discussion Frank said that race itself wasn’t the issue, simply feeling “weird”. Within black circles the choice was also between reggae or soul, Andy said on today’s Robert Elms show on BBC Radio London: “The power of the film is not just about gay or straight, black or white – we were all rejects from some type of conservatism and we came together in a safe space where we could explore ourselves.”

Also on the Elms show, Claire said the film started with Les Childs being in Lindsay Kemp’s company in the mid-70s (he later worked with Michael Clark and choreographed for the Pet Shop Boys) and goes through to 1991 and the Michael and Gerlinde Costiff club Kinky Gerlinky. Claire added: “London is another star of this film – we all moved to London to be individual.”

There’s another screening tonight (6 July) at the Conduit club in Mayfair as part of BlackOut’s starry Pride programme (tickets via Eventbrite) and again on 23 July at Manchester Pride, with another hopefully in Liverpool.

➢ Tickets may still be available for tonight’s 6pm screening of Beyond plus a discussion to launch BlackOut UK’s fund-raising appeal at the Conduit Club, W1S 2YQ

➢ Andy Polaris and Claire Lawrie talk about Beyond on today’s Robert Elms show at BBC Radio London (from 2h07m)

➢ A new documentary finally gives credit to the black queer people who built British nightlife – Andy Polaris writes about Beyond: There’s always a black issue Dear at GQ online

TRAILER for BEYOND

➢ More about the film Beyond

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➤ Bowie TV trilogy triumphs thanks to candour and a few tears

David Bowie,pop music, TV documentary, review,

Bowie’s search for identity: the hippy look for the Hunky Dory sleeve 1971 and red-haired alien for Space Oddity 1972. (Photos by Brian Ward and Mick Rock)

WHAT AN EYE-OPENER! Nine failed bands in ten years of struggle before David Bowie emerged as a star. “He was no Marcel Marceau,” said his mentor and lover Lindsay Kemp of David’s attempts at mime. Saturday’s TV doc Bowie Finding Fame directed by Francis Whately was chock-full of jaw-droppingly frank evaluations by all his pals and workmates from his earliest days in music. Among the kindest was his girlfriend in 1968 Hermione Farthingale who said: “He was actually 21 and looked about eight. . . He wasn’t lost, but he wasn’t found either”. For 90 minutes Bowie’s own voiceover was disarmingly full of insight too and this episode, the third in Whately’s consummate trilogy for the BBC, proved probably the‬ most moving of all.

And today comes a thorough and informative appreciation of this the latest landmark documentary about Bowie’s early life in a review published by Andy Polaris, Eighties singer with Animal Nightlife, at his website APolarisView. As a fan utterly in thrall at a formative age to Bowie’s charisma, Andy brings personal insights to the final doc, which follows on from David Bowie: Five Years (2013) and The Last Five Years (2017), both being repeated live tonight from 11.15pm (despite the confusion in newspaper listings guides), and subsequently viewable on iPlayer.

Andy also adds further essential points of reference to the Bowie story omitted from the new biopic, possibly because, as its series consultant and Bowie chronicler Kevin Cann has explained this week, the production team ultimately had to exclude masses because of time limitations: “Sadly there are a few fabulous interviews we made that we couldn’t fit in – all important in their own way. . . At one point we had close on a three-hour edit. We were basically overwhelmed with options at times – and that’s exactly why future generations, I’m sure, will never be bored of this man’s immense talent. He will never cease to impress.” Another gem they discovered was the complete Russell Harty TV interview from 1973: “. . . the whole Bowie section, interview and song performances. Even though ITV erased their original master a year or two after original broadcast, the recording we have still belongs to them, so its immediate future is yet to be decided.”

➢ Meanwhile here’s an excerpt from Andy’s blog
APolarisView where he reviews Saturday’s superb doc,
Finding Fame, which starts in the mid-Sixties:

Swinging 80s, Andy Polaris,TV review, David Bowie Finding Fame,,singer,pop music,

Polaris: surprised

I came away admiring Bowie more as an artist due to his single-minded pursuit to achieve his goal and establish a career in the arts. Eleven years (which brought massive cultural changes generally) and nine different bands failed to launch his career. With such limited rewards most people would have fallen at the second or third hurdle and contemplated a different choice of career. A lot of the bands I had heard of, but the film surprised me by exhuming the music of Riot Squad (a name sounding more like a later oi/skinhead band) where he spent eight weeks as their singer in 1967.

Bowie learned quickly to jettison anyone or thing that stood in the way of his mission and made sure that he was front and centre of the action. Early associates talk of how he was the driving force behind stage performances, style and presentation and how to stand out from the crowd.

Whately’s biopic marks the first time I can remember hearing about the inspiration for Letter to Hermione (a beautiful song on Space Oddity) in a filmed interview where his former girlfriend talks candidly about their love affair and the aftermath of their break-up. In a rare moment of personal confession it reveals the crushing effect it had on David at the time and he wanted her to forever realise the hurt. . . / Continued at APolarisView

➢ Bonus clips at the BBC’s programme website:
Of the surplus footage researched for Finding Fame, Kevin Cann reports that My Death survives in full, as does the whole interview. As also does probably 90% of the 1970 Glastonbury set. “Just in case you haven’t seen them, here are some of the brief edits that came out along the way. There are many more and I hope, over time, more is made available.”

WHAT THE TV CRITICS SAID OF FINDING FAME

➢ “Whately arguably does get closer to who the flesh and blood David Jones really was than anyone has previously, largely thanks to securing interviews with an elusive cousin and a just as elusive first love” – The Arts Desk

➢ “Still think of Bowie as the last word in cool? You’ve obviously forgotten his novelty single about gnomes, his dire mime days… and his cover of Chim Chim Cher-ee” – Guardian TV review

➢ “The BBC’s ‘talent selection group’ had dismissed Bowie as ‘devoid of personality’ (ah, the irony). Yet Bowie doubled down and worked harder” – The Times review

➢ “One of the most miraculous things about Bowie is that he didn’t wind up as a drama teacher in Bromley” – Sunday Times Culture

➢ “Fascinating insight into the young singer’s quest for fame and his evolutionary struggle to burst out of suburbia” – The Telegraph review

➢ View David Bowie: Five Years (2013) at the iPlayer

➢ View David Bowie: The Last Five Years (2017) at the iPlayer

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