'Reply'
'Discovering' (Eric) Cantona last night, with his excellent pianist and cello player, has reminded me that, in music, there are always surprises, around the corner, that (also) could easily keep me interested in hearing live performances.
'The Friends We Lost' is the song that has done this, for me. I always knew he was creative, as well as a football player, as an actor (I am thinking of his own solid performance in my favourite historical film, 'Elizabeth' (c.1998) with Blanchett, Burke, Rush, Eccleston, Attenborough, Craig et al.)
Maybe I'll never lose total interest in live performance, whilst I am healthy enough to lose myself in it and enjoy? It's a question, I think, of interest, feeling and something new...or old and loved...
postscript: The last track I downloaded to my stick was by the American band, The National. I saw and heard them on Jools Holland and I loved their track, 'Space Invader' (particularly LIVE, when the guitar parts really abounded with energy). That's the kind of feeling that I'm trying to convey. Guitar, Cello, voice, lyrics, MELODY, whatever...
10/03/2025 (about Saturday Night) - We saw and heard - 'Bowie by Candlelight' at Oxford Town Hall - the very venue where, back in 1972, Mick Rock took the iconic photo of Bowie kneeling in front of Mick Ronson with face close to the guitar - you know the one - and the band that were performing were, DAVID LIVE.
I hadn't realised that they've been around for a couple of decades - I think that is what their lead singer, CHARLIE FOWLER, said in a separate YouTube interview (just under an hour in length with an interviewer from New York). Anyway, Sasha and I met Charlie briefly after the show (he's charming and looks fantastic for his age).
Charlie's vocal was incredibly strong. In my view, there can't be a better tribute to David Bowie out there. Oxford loved them. I think the early Cockney Rebel took some influence from Bowie and The Spiders From Mars (we know that Steve held 'Ronno' in high regard from some of his actions, I think, in 2015?) I also think besides Steve's Dylan, T.S. Eliot and folk influences, in my view at least, early Cockney Rebel also took a little influence, from the 'For Your Pleasure' period Roxy Music.
Anyway, thinking back to DAVID LIVE and Charlie in particular, I think any tribute taking on Cockney Rebel, would hone in on the 1973 to 1976 period. David Live split the show into the Ziggy/Spiders period (predominantly) and the 80's/90's Bowie. Besides the quality of the vocals, the drumming, both guitarists and the keyboards man, what really made this work was Charlie's image (he changed for the second part of the show), his heart and effort and his age...he's old enough to have been a young fan right at the beginning. The whole thing left a considerable impression on us. Fantastic...
30/03:
I've just been viewing/listening to a YouTube cover of Make Me Smile... by Sarah Collins (apparently posted about 4 days ago). Not sure what I make of it, other than initially, quite slick. I do however (this isn't specifically relevant) love the Collins name and several individuals who are carrying or have carried it. Some have made a significant contribution to learning and culture, for instance.
Returning to a point I made after seeing/hearing David Live (this month), I suppose any Cockney Rebel tribute could split a show into (the predominate) 1973-1976 period and after the interval could, similarly pluck from the 80's/90's, maybe including 'The Coast Of Amalfi' (2005).
'I Can't Even Touch You' and 'I Can Be Anyone' (1982) could be included, as could (maybe) 'The Phantom Of The Opera (1986), 'Star For A Week (Dino) from 1992, and 'All In A Life's Work' (1996). 1978 could also be included, 'Amerika The Brave' and of course, 'Riding The Waves (for Virgina Woolf'), are two tracks I'm fond of - the former is quite funky (as arranged on the LP, 'Hobo With A Grin').
Any musical director could emphasise the electronica or at least keyboards heavy, on the 1982 tracks - after all, they were produced by Midge Ure. Oh, I've just reminded myself that I saw Ultravox live, at The Opera House, Blackpool, in 1982 (pretty good).
I agree with Steve and Midge that it was surprising they were not hits, but I also feel the same about 'Star For A Week (Dino)' - Harley at this point of comeback, revealed that (in my view), the hunger was still there (to reprise the success of the 1974-1976 inclusive period), sixteen years later. X
