The crack staff at FTD have been stumbling onto some exceptionally rare and great films of late, and to tie up (pardon the Wakamatsu pun) Somebody Got Murdered! Week, we've saved the best for last. 10 Rillington Place was based on the John Reginald Christie serial murder spree that spanned over ten years in Britain, starting in 1943. Sir Richard Attenborough, an up-and-coming John Hurt, and Judy Geeson give outstanding performances, and Richard Fleischer's direction of this harsh subject matter is delicately perfect. 10 Rillington place is a gem of a film that could easily be overlooked, but don't let that happen. It's another must-see.
Damn, we've been posting some great stuff lately...
Sometime in the last decade, the glut of commercially released thrillers and serial killer flicks shifted focus from killer and victims to just victims. The horror genre began seeping into thrillers and the idea of the serial killer became an unknowable, a wicked creature certainly not birthed of a human mother and father. The methodology of the killer had been transposed onto the director. We were no longer watching a cat and a mouse as much as a band of mice inside a steel trap with an omnipresent figure picking them off one-by-one. Instinct and procedure gave way to happenstance, cliché, and plain-old bad luck. Masked sociopaths with mommy issues don't kill people; scenarios do.
Richard Fleischer's 10 Rillington Place should then come as an unsettling reminder that, more often than not, it is not overly clever traps but rather people who kill people. Based on the notorious Christie murders that plagued Notting Hill throughout the 1940s, the film focuses specifically on John Christie's relationship with the Evans family, which rented out the top apartment of the building where he resided with his wife. Christie, played by Richard Attenborough at the top of his form, was at first a good friend and helpful neighbor to Timothy Evans (a young, exceptional John Hurt) and his wife Beryl (Judy Gleeson), shelling out a few extra shillings to make sure the kids made their furniture payments and offering to help Beryl with an unwanted pregnancy. The cries of the Evans' young daughter pours over the minimalist score and sound design like a cascade of turmoil; no wonder Glenn Kenney likened the film to Eraserhead.
Christie's pregnancy termination sham is, in reality, a ramshackle device to gas female victims and then strangle them. Included in his laundry list of psycho-sexual habits is a pension for necrophilia and, though we never witness the act, Attenborough's scrape-bone performance leaves no question that he was capable of it. After murdering Beryl and covering it up as a mistake during the operation, Christie goes on to frame Timothy, murder their baby daughter, and later testify against the young man in trial. The trial makes up a good chunk of the film's procedural second half, where we are allowed a few crumbs of Christie's unfiltered past. Convicted with little doubt, Evans was hanged in 1950, a full three years before they uncovered bodies at Christie's house -- one being his wife -- and put him to the gallows too.
Set in a nightmare London filled with decay of the soul and rotted foundations, 10 Rillington Place is a bellowing black cloud of lugubrious mood and overcoming dread, lit only by the reflection of light off of Attenborough's bald pate. Fleischer, the manic filmmaker behind Mandingo and Soylent Green, strikes a strange but affecting pitch by not empathizing with killer or victim. Evans, played by Hurt as a frustrating dullard, isn't romanticized as the wrong man, nor is bald, pudgy Christie posited as an anti-hero. It's all too harrowing to not be true: Text at the beginning of the film informs that Fleischer and screenwriter Clive Exton used as much fact and transcribed dialogue as possible, and even the terrifying scene of Evans being hung was technically advised by none other than famed hangman Albert Pierrepoint. Written and performed as human, Attenborough's Christie is an entity of his own twisted will; the audience is relegated to stunned, chilled spectator.
Technical Information:
Title: 10 Rillington Place Year: 1971 Country: UK Director: Richard Fleischer
Source: DVD9 Retail DVD Format: PAL Container: .iso + mds Size: 7.23 GB Length: 1:46:22 Programs used: Unknown
DVD Extras: - Introduction by Sir Richard Attenborough - Interview with Sir Richard Attenborough - John Hurt Commentary - Fact File - Filmographies - Vintage Lobby Cards
Although most of Bollywood didn’t venture into Bengaluru, Vivek Oberoi’s wedding with Priyanka Alva maintained its entire entertainment quotient. The day began on Friday afternoon, with a haldi ceremony at Chancery Pavillion. Most present at the event were dunked into the pool.
The ceremony started at the Alva residence, where the Oberois and the baraat reached at about 5.30 pm. Designer Tarun Tahiliani had created the red-gold outfits for the couple and everyone was heard raving about how gorgeous the two looked in shaadi ke jode (wedding attire).
Vivek While the drive from Windsor Manor hotel, where the groom’s family were put up, was covered in minutes, the journey from the entrance to the mandap took considerable time as Vivek rode a decorated ghodi (horse) as per tradition. Of course, Vivek was teased aplenty by the bride’s side before he got on the mare. Even the ghodi was made to sway and trot before he was allowed to get off.
Oberoi had to give up his shoes to his sisters-in-law before he was let into the mandap to take his seat next to his waiting bride.
Apart from the Swarovski crystals from Czechoslovakia and flowers from Italy, the mandap also had huge LCD screens put up to broadcast the entire ceremony. The wedding rites were performed as per both the Punjabi and the Karnataka traditions, and by the time the ceremony ended, it was 2 am.
When Oberoi asked for his shoes, his sisters-in-law apparently demanded Rs 25 lakh. “But it was all in good humour. Eventually, after some teasing and cajoling, the Oberois paid a couple of lakhs, so Vivek could get his shoes back,” revealed a source.
The food lawn was no less ostentatious and the buffet spread was no less extravagant, even though the families opted to stick to vegetarian food only. “The Alva and Oberoi families had decided to keep the food vegetarian. Besides, there was a separate spread for Karnataka specialties,” said our source, adding that the dessert spread was equally grand “with a nine-feet chocolate fountain” on the menu.
Nearly 200 policemen were deployed for security and about 4,000 guests attended the wedding to congratulate the daughter of Karnataka’s late political leader Jeevaraj Alva and Oberoi.
Sangeeta Bijlani and Sushmita Sen, who attended the wedding with daughter Renee, made up for the B-town quotient. Southside stars like Chiranjeevi, Sudeep and director Mani Ratnam were also present. However, the political presence was a lot more visible as Siddaramaiah, Venkaiah Naidu, RV Deshpande, DB Chandregouda, Narendra Babu, Roshan Beig and Mayor S Nataraj arrived with their multi-car security convoys
I hope someone out there in InterwebLand is enjoying this Rastafari jag as much as I'm enjoying posting these pieces of history.
The Abyssinians had (along with The Mighty Diamonds), some of the most beautiful harmonies this side of Pet Sounds, so if you've never heard them, please check The Abyssinians out. Arise is sure to follow sometime in the near future. Enjoy, my brethren.
Bruce Davidson: engineer The Abyssinians and Clive Hunt: producer
Tracklisting:
01. Declaration of Rights (3:30) 02. The Good Lord (3:27) 03. Forward Unto Zion (3:48) 04. Know Jah Today (2:58) 05. Abendigo (3:37) 06. Y Mas Gan (3:45) 07. Black Man's Strain (2:48) 08. Satta Massagana (3:32) 09. I and I (3:36) 10. African Race (2:57)
Bonus Tracks:
11. Leggo Beast (3:12) 12. Paculiar Number (4:02) 13. Reason Time (2:57) 14. There Is No End (3:25) 15. Jerusalem (2:19) 16. Leggo Beast Dub (3:01) 17. Abendigo (Extended Mix) (5:58) 18. Poor Jason Whyte (Extended Mix) (4:18)
Violated Angels is the first Wakamatsu film I've had the pleasure of seeing, and seeing as though it's akin to getting hit over the head with a 2x4, I intend to see (and post) as many films of his as I can find.
Violated Angels is weird...hauntingly weird. The readmore can do more justice to the film than me anything I can blabber about, but I will tell you it's based on the Richard Speck murders of the Filipino nursing students in Chicago in 1966. Wakamatsu's approach to this film harkens back to traditional Japanese theater...on acid. The main character (the murderer) has his share of psychic breaks throughout the film, but I don't know who is stranger: him or "the Conch". My pick would be "the Conch".
This is an extremely tough find (custom English subs by Polifem at ADC), so I'm not getting into your business, but this is a MUST download...that is, if you're into Japanese cinema.
P.S.: This is not Pinku. Violated Angels a work of art by a master director.
Divisive, exploitative, cruel, vengeful, erotic, political, provocative, avant-garde — Koji Wakamatsu is all these things, and a ridiculous amount more. A country bumpkin who wandered his way through the Yakuza and into one of the most prolific directing careers in Japan, Wakamatsu has created an unsurpassed, massive filmography of unique and disobedient works. While inextricably connected to the pinku eiga (Japanese soft-core film), Wakamatsu himself has always insisted that his films were something more. Certainly they contain copious amounts of sex and nudity, but this often was a cover for leftist political diatribes decrying Japan’s imperial inclinations, and its subservience to US foreign affairs on Asian politics. Now in his seventies and having produced more than 200 films in his career, Wakamatsu and his uncompromising worldview show no signs of slowing.
[...]One of Koji Wakamatsu’s more infamous productions (and inspired by the real-life case of Richard Speck’s 1960s student nurse killing spree in Chicago,) Violated Angels is a compact celluloid acid trip into one man’s derangement as he kills a group of nurses and regresses to a child-like state. Acting more as a protest piece than Grand Guignol debauchery — although it strongly delivers the goods in that department, with shocking deaths filmed in lurid color by Hideo Ito (In The Realm of the Senses), and a bevy of ravaged beauties — the film draws a strong analogy between the man’s dehumanized actions and the Vietnam War protest movement going on concurrently with its production in 1967. Filmed Corman-style in less than one week in order to seize upon the wave of publicity wafting off of the Speck murders, this melancholy mini-masterpiece plunges the viewer headlong into ice-cold madness.
Technical Information:
Title: 犯された白衣/Violated Angels Year: 1967 Country: Japan Director: Koji Wakamatsu
It's amazing what you learn when you cohabitate with a Communist mole from the Motherland (that's what L&S calls Canadia. Whatever.) Did you know that there is a film and T.V. genre whose sole intent is to poke fun of the Red, White and Blue?!? Dear Lord...I had no idea.
So, being the God-fearing American that I am, and realizing that one day the Axis of Evil From the North will awake their sleeper cells (I keep one eye opened at night...) and attack, I hunted down some Canuck propoganda as an example as to why my fears have validity.
I do not appreciate being the butt of anyone's jokes, eh hoser? Here's Leslie, My Name Is Evil, with (you guessed it) Don McKellar. Enjoy?
Canadian films are all snow and desolation and melancholy, right? Not anymore. 'Leslie, My Name Is Evil', a pseudo-fictional feature film directed and acted by Canadians, is found somewhere opposite on the spectrum, far from where we would expect it. Focusing on the Manson Family murders and subsequent trail of the late 1960s, the movie is a dark, satirical stab at the heart of what makes America America: the nuclear family, religiousness, 'wholesome' values, and military prowess.
In his film, director Reginald Harkema (known for his zany style and outlandish hair) looks specifically at one of the Manson girls on trial, Leslie Van Houten (Kristen Hager), as she goes from straight-laced daughter to outright devotee of the Manson cult. Harkema juxtaposes her journey with that of Perry (Gregory Smith), another buttoned-down youth who's selected as a member of the jury for the trail.
At times psychedelic and at other times sobering, 'Leslie' is an interesting departure from the usual Canadian canon. Moviefone got together with Harkema, Hager, and Ryan Robbins (who adeptly captures the manic essence of Charles Manson) to talk about the making of the film, and what it was like to embody – sorta – some of the most notorious people in American history.
Reg, what inspired you to make a film like this? And about this topic?
Harkema: It was a confluence of two things: the first Pink Mountaintops' album being in heavy rotation on my turntable with the song 'Leslie' playing, and me stumbling across a first-edition copy of 'Helter Skelter' at Value Village. I thought I could make some money off of it, but then I learned that the hottest Manson chick was this Dutch Christian girl named Leslie Van Houten – who's the exact same age as my mother. Then I wondered, "How could my mother become a hippie death cult murderess?"
I guess that's all it takes.
Harkema: That sucked me into the book, and then I found this little tidbit about one of the jurors being infatuated with Leslie. I thought that was an interesting story to tell between two people who can't speak to one another.Those courtroom scenes can be really intense. Especially Leslie's stare – it's hypnotic!
Hager: Well, thank you! I think.
Reg, did you ever balk at the subject matter, or about approaching it in this way?
Harkema: The only time I ever sort of balked was when my next-door neighbour slipped me some ketamine, and I started having an out-of-body experience. I really felt like I was being sucked into hell. 'Halloween' was also on TV. Let me tell you: never try ketamine while writing a film. [Laughs]
What sorts of reactions have you received at film screenings?
Harkema: It's divided. People love it and hate it. Someone called it the second-worst movie of the year.
Hager: Yes, I would say exactly that. People are polarized.
How much research did each of you conduct for these roles?
Hager: I did more research than I've ever done for any other role. Ever. I spent a good month essentially locking myself up in my apartment watching anything and everything on Manson and his girls. Interviews, YouTube, documentaries, books, culture... you name it. I let it sink in and that was that.
Robbins: Yeah, I'm with Kristen. I think I came on a week-and-a-half before we started filming, so I didn't have as much time to prepare. It was a cram session for me. There is a lot of Manson's audio available, so I used that. And Reg had given me this book, essentially written by Charles Manson. I was more interested in his perception of himself than other peoples' opinions of him. I mean, no one willingly follows a madman unless there's a reason. I wanted to explore the girls and Manson from other angles.
Harkema: Follow them and bed them then, Ryan! You cutie. [Laughs]
Robbins: Now, now.
Playing Manson is obviously a major role. Actors would step over one another to play him. Were you ever nervous at all about taking this on?
Robbins: I went in apprehensive, but also a little excited. Speaking with Reg, I was really confident about his approach and vision. Keep in mind, our film is more of a statement than a biopic. There was more freedom that way.
Kristen, what was it like for you to go from Red Lake, Alberta to playing a Manson follower?
Hager: [Laughs] Well, it wasn't unlike Leslie's journey from a small suburban home. Fortunately I went to theatre school and had a few other jobs in between, but hands down this is one of my favourite roles. Definitely the most challenging.
What was the hardest scene you filmed for this movie?
Hager: [Laughs] For me, that's easy. It involved a kitchen knife and some blood. From the moment I read the script, I knew the murder sequence was going to be a challenge.
What were you actually stabbing?
Hager: A cardboard box. I don't know if there was anything in it or not. The make-up lady was sitting a bit too close to the box, squirting blood into my face and eyes.
Harkema: That was actually the toughest day for me. We were shooting in the middle of November in Toronto but it was supposed to be standing in for California in August.
What about you, Ryan? What was the hardest scene for you?
Robbins: Well, day one, the first shot is me having to have sex with Kristen. [Laughs] It's like, "Hey, how you doing? I'm the second guy you have sex with! Sorry about that."
Hager: It's always like that with every job I have. Intimacy is always the first thing.
Robbins: It was especially challenging because I was strapped to a huge cross in nothing but a loincloth with naked women dancing all over the place.
Harkema: That's really tough, Ryan! [Laughs]
If you can pinpoint it, what would you say is the main message you hope to send with this movie?
Harkema: I think it's a message-less movie. Take what you can from it. The only thing I hope to get out of this movie is that a boy and a girl, a girl and a girl, or a boy and a boy will go to it on a date and get into a big fight about what it means, and then have great make-up sex.
What stood out to me as the main issue was the stubborn adherence to that nuclear family, right-wing, religious ideal. It still seems to be prevalent today, 40 years later.
Robbins: That's what I remember thinking too, when I read the script.
Harkema: Yes, we're still making the exact same mistakes. My girlfriend of 10 years is American. We go to Tennessee and have Christmas with her southern Republican father, and then the other Christmas we'll go to Olympia, Washington with her mom's family, who are all dope-smoking lesbians. So the cultural divide of America is clearly demarcated, and that's what the movie is about – about how much that still exists today.
Technical Information:
Title: Leslie, My Name Is Evil Year: 2009 Country: Canada Director: Reginald Harkema
It is not Halloween unless I watch this Disney classic every year. Adapted from the story by Washington Irving, this cartoon does what Tim Burton never did- tell the story the way it was meant to be told. The story tells of superstitious schoolmaster Ichabod Crane who meets the legendary Headless Horseman on a dark Halloween night in the colonial hamlet of Sleepy Hollow. It is told through the narration and singing of Bing Crosby.
Crosby proves to be a good storyteller, and Disney does a fabulous job of mixing humor and suspense as the cartoon works its way to the fiery climax. This short film is from the era of great hand drawn animation, and the way in which the skinny Ichabod is depicted is great, as well as the foreboding journey through the hollow and the attack by the Headless Horseman. The songs are very catchy and memorable- the opening when Ichabod enters the town and Brom Bones' boisterous retelling of the Horseman's legend are the best examples. The structure of the film allows Crosby to both narrate, sing and voice the characters very easily.
This cartoon is very faithful to the original story (albeit with some Disney silliness thrown in) and it scares without being too spooky for the little ones. I have to see this every year out of habit, but also because it is timeless. Trying to find this classic is a bit difficult these days, but if it means as much to you as it does to me, try Amazon.
Things to watch for-
Shovels or feet- you decide Ichabod's ability to hide food Brom Bones feeds beer to animals Katrina- what a babe! Bing "boo boos"
"Odds bodkins! Gad zooks! Look at that old spook of spooks!"
The Board of Secondary Education, Orissa Supplementary HSC Result 2010 will be available shortly. Orissa Supplementary HSC Result 2010 announced on the official website at http://bseorissa.in/. Board of Secondary Education, Orissa Supplementary H.S.C.E 2010 is going to be publish on 30th October, 2010 at 12.30 P.M. Orissa Supplementary HSC Result 2010 BSE Orissa Result 2010 for Orissa Supplementary HSC Exam will soon declare the HSC Supplementary Examination Results 2010.
Read more : BSE Orissa Result 2010 for Orissa Supplementary HSC Exam | Indian Exam Results Under Creative Commons License: Attribution
I don't quite know what so say about Sandinista, other than it's the Clash's best and worst album all rolled into one. Some people say that Sandinista is the bands Exile on Main Street, but Exile was a near-perfect album with very few throwaway cuts, while Sandinista's snoozers couldn't be counted with two hands. But...it's got Silicone on Sapphire, The Street Parade, Police on My Back, Somebody Got Murdered, If Music Could Talk, Hitsville U.K., etc., etc.
Sandinista isn't the Clash's Exile on Main Street. It's their Figure 8, and their failures were their art. I love the Clash.
When The Clash released their follow-up to the masterful London Calling, expectations were, naturally, high. However, 1980's Sandinista! was greeted with derision and bad reviews by much of the press and the music-buying public. A triple-album was too much music it was argued, not only for listeners to comprehend but for The Clash to fill up with quality music. This may be semi-true; it is obvious to those listeners that sit through all 36 songs that the quality control is almost non-apparent. This is a shame as there are many excellent songs present that are lost amongst the murk. It also seems apparent that The Clash's broadened musical horizons, while marking this diverse collection of songs out, leaves the listener stunned as they are catapulted back and forth between ska, reggae, dub, punk, rockabilly, gospel, calypso, soul, disco, funk, rap and bizarre covers of two early Clash classics by (Blockhead's keyboardist) Mickey Gallagher's kids. If this eclectic mix wasn't already enough, on first inspection it seems that little attention has been paid to the running order of the songs as the song styles switch to and fro.
On first listen it’s all a bit much, and most definitely very un-(pre 1980) Clash like. However, as you delve deeper you discover brilliant individual songs and even discover structuring of the records. On the 2CD version the straight run-through ordering misses this point, but when listened to on 6 sides over 3 vinyl records (as it was originally – and in my opinion a better way to listen to the album) each side is arranged in a certain way, for instance some feature radio skits by diverse people such as Ansel ‘Double Barrel’ Collins (side 3/tracks 13-18 on CD1). These are not immediately apparent on CD. Similarly, side 5 (tracks 7-12 on CD2) is ordered to start of with the fast-paced violin of ‘Lose This Skin’, before descending to the swirling keyboards and effects of ‘Charlie Don’t Surf’, then leading to the sound collage ‘Mensforth Hill’ making up the middle of the side, before ascending to another song heavily reliant on sound effects (‘Junkie Slip’), then ending the record back on a jaunty pace with ‘Kingston Advice’ and ‘The Street Parade’. It is obvious from the sequence – or perhaps ‘musical journey’ – of these songs that they were selected in this order to give a flowing vibe to the side, where faster songs give way to slower effects-laden ones, before coming back up to faster ones. It is peculiarities such as these that give Sandanista! it’s vibe – order remains amongst the wild experimentation.
One of the best things about Sandinista! is that some of the best songs are ones you won't have heard mentioned on Clash compilations, and are instead buried somewhere on the album. In the same way, if you take some songs off the album they sound weak, but in their place on the record they sound perfectly fine – witness the ‘dub’ side (6 – tracks 13-18 on CD2) featuring red-eyed metallic dub cuts of previous songs on the album. Another notable feature of the album is it’s ‘song-cycle’ ideas. This was primarily influenced by Jamaican producers such as Lee ‘Scratch’ Perry (who produced the ‘Complete Control’ single in 1977) and Mikey Dread (who produced the 1980 ‘Bankrobber’ single and Sandinista!), who use techniques of re-using instrumental cuts of songs and re-producing them, dubbing them up, or adding toasts or new vocal melodies. In the Clash book ‘Passion Is A Fashion’ it is noted that The Clash originally began sessions for Sandinista! in Jamaica with Mikey Dread intending to cut a full reggae/dub album. This obviously permeated through the further sessions for the album and the idea of re-using takes from recorded songs placed in the first half of the album and dubbing them up for a place later in the album was kept, demonstrated by ‘One More Time’/’One More Dub’; ‘Something About England’/’Mensforth Hill’; f Music Could Talk’/’Living In Fame’/’Shepherd’s Delight’; ‘Washington Bullets’/’Silicone On Sapphire’; ‘Junco Partner’/’Version Pardner’, as well as the children’s covers of ‘Career Opportunities’ and ‘Guns Of Brixton’. This is interesting to note, as it shows how the band were not just experimenting musically, they were also looking at aspects of presentation and musical culture.
To trawl through Sandinista! song by song would be missing the point though (not to mention hideously time consuming). Sandinista! is an unparalleled adventure across musical boundaries, within the context of Sandinista! every song has its place and makes sense (most of the time). It is a given that there is some truly awful stuff here ('Mensforth Hill' anyone?) but you can pretty much forgive the band for that when they have songs like 'Somebody Got Murdered' on the same album. The singles are perhaps not as immediate as on other albums, which is nice – none were particularly heavy hitters in the charts (the singles were ‘Maginifcent Seven’, ‘Hitsville UK’ and ‘The Call Up’, for the record). There most definitely better songs than those here – ‘Somebody Got Murdered’ has a wonderfully swirling flute sound, Lyrically, Strummer is all over the map – ‘Let’s Go Crazy’ whisks us to Trinidad (or perhaps the Notting Hill Carnival), ‘The Sound Of The Sinners’ is a New Orleans style street gospel, Jamaica’s capital is name checked in ‘Kingston Advice’ and ‘Broadway’ is set in a backstreet of New York. Another tramp’s story, ‘Something About England’, concerns a war story told in a clever way – Mick Jones sings the main narrative of a man asking a homeless bum about his life, while Joe slips into the character of the street-dwelling war veteran with gruff ease. We are back in Jamaica with the gang-boss refrain of ‘The Equaliser’, whereas ‘One More Time’ expels Strummer’s opinions on everyone having to fight their way through life in the ghetto. White Brits singing about ghettos does kind of jar to be honest, but the song is strong enough to hold out over its four-chord refrain, sitting in a comfortable space between reggae and rock.
The standout lyrically is most definitely ‘Washington Bullets’, set to a lilting semi-calypso beat, whisking the listener through a tour of political hotspots – from Chile’s Santiago Stadium, to the Bay of Pigs in Cuba, 1961, to the Dalia Lama’s viewpoint of the Chinese occupation of Tibet, to the refrain that yielded the album’s title, concerning the Nicaraguan revolution. The key style of vocals for Sandinista! is the collaboration of Strummer and Jones singing in unison on many of the songs, formers stream-of-consciousness’ and mumbled narratives complimented by the latter’s chicken squawk. Topper Headon and Paul Simmonon make a vocal appearance on one track each; Headon’s is the ill-advised disco of ‘Ivan Meets G.I. Joe’, andSimmonon’s is the ‘Guns Of Brixton’ copycat of ‘The Crooked eat’ on which he warbles lyrics about a bust at a late night blues party competently if not spectacularly. One other key point to note is that The Clash were not only experimenting with musical styles, but with musical techniques too. Hence the dub versions of several tunes, the recording of 'Something About England' being played and recorded backwards ('Mensforth Hill'), and the innovative vocal technique employed on 'If Music Could Talk', where Joe Strummer sings (or mumbles) two separate lyrics which are then panned hard left and hard right (disconnect your left or right speaker and you'll only hear one set of lyrics).
An eclectic experiment is probably the best way to sum up Sandinista!. Some of the experiments work and at times The Clash sound at the very peak of their songwriting; on the other hand these moments are counteracted by failed experiments where the band sound like they are just trying to fill up the record. Still, 36 songs for about a tenner isn't bad and back in 1980 The Clash had to forfeit virtually all their British sales to bring the price of the triple album down to that of a double, resulting in a virtual commercial failure. Every Clash fan should own a copy of Sandinista!, though they would be advised to ease themselves into the band with London Calling or Combat Rock first. The record company felt that Sandinista! was too messy at it’s time of release, and opted to issue a more direct one-LP version to radio stations, entitled “Sandinista Now!”. Some may also say Sandinista! is a mess and that a more immediate disc preferable, but personally you can take your ‘Police On My Back’ and go, and I’ll quite happily revel in the eccentricities of ‘Silicone On Sapphire’, thank you very much.
01. The Magnificent Seven (5:34) 02. Hitsville U.K. (4:22) 03. Junco Partner (4:52) 04. Ivan Meets G.I. Joe (3:05) 05. The Leader (1:42) 06. Something About England (3:43) 07. Rebel Waltz (3:26) 08. Look Here (2:45) 09. The Crooked Beat (5:28) 10. Somebody Got Murdered (3:34) 11. One More Time (3:32) 12. One More Dub (3:37) 13. Lightning Strikes (Not Once But Twice) (4:51) 14. Up In Heaven (Not Only Here) (4:32) 15. Corner Soul (2:43) 16. Let's Go Crazy (4:24) 17. If Music Could Talk (4:37) 18. The Sound of Sinners (4:02)
01. Police On My Back (3:18) 02. Midnight Log (2:10) 03. The Equaliser (5:47) 04. The Call Up (5:28) 05. Washington Bullets (3:52) 06. Broadway (5:49) 07. Lose This Skin (5:08) 08. Charlie Don't Surf (4:54) 09. Mensforth Hill (3:42) 10. Junkie Slip (2:49) 11. Kinston Advice (2:37) 12. The Street Parade (3:28) 13. Version City (4:23) 14. Living In Fame (4:53) 15. Silicone On Sapphire (4:14) 16. Version Pardner (5:23) 17. Career Opportunities (2:30) 18. Shepherds Delight (3:29)
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