Mick Karn RIP

One of the most unique bassists of the 1970’s and 80’s was Mick Karn from Japan, fronted by David Sylvian, who straddled a pop-punk Euro-decadent sound and influenced many a New Romantic who came out of England in the day. John Taylor from Duran Duran offers his tribute:

Nick and I first saw Japan at Barbarellas in Birmingham on their ‘Obscure Alternatives’ tour and were blown away. They were so fresh, while every other band in town were tripping over each other in a rush to play the same three chords, Japan were brave in many ways. When I think back to that night the image that first comes to mind first is beautiful Mick, red hair and Ibanez bass, shaved eyebrows and ballet shoes, shuffling around the floor like a docile robot, playing also with great beauty and verve, punching delicate holes in the fabric of the songs; in Mick Karn’s basslines no notes were ever wasted. Mick changed my life in a good way, ‘Quiet Life’ and ‘Gentlemen Take Polaroids’, ‘Adolescent Sex’ and ‘Tin Drum’ are amongst the best recordings made during the post-punk era in my view. Mick’s sax playing also was always interesting.

I too adore his funky Badalemti-esque saxophone, particularly on the track, “Burning Bridges,” from my favorite Japan LP, 1980’s “Gentlemen Take Polaroids.” The live clip above from “The Old Grey Whistle Test” show features “My New Career,” an atmospheric song with Mick Karn’s truly individual and underappreciated liquid style. Godspeed.

Friday Song: Japan

One of the most influential New Wave groups of the 80’s didn’t even get a chance to ride the surf as they were too ahead of their time and not always of it. Influenced by Bowie, Roxy Music and the New York Dolls, Japan was founded by David Sylvian in 1974. They achieved British chart success in their run and increased recognition just when they disbanded in 1982 after their final eclectic LP, “Oil On Canvas.” Their previous 1980 pop masterpiece and summation, “Gentlemen Take Polaroids,” would be a big inspiration to Duran Duran (you can see where Nick Rhodes got his initial fashion sense from this video) and others that were about to musically redefine the decade.

Japan never had an archetypal New Romantic sound, it was jangly, exotic and filled with discordant soundscapes. But on “Gentlemen,” they refined their unique sound into what I think of as perfect Friday night Euro-trash driving music (or in my case, cruising downtown Sacramento at the time). There are staggeringly beautiful melancholy moments here, particularly in the piano-based, “Nightporter.” Along with that, master Japanese synthesist and collaborator Ryuichi Sakamoto played on tracks, including the epic final song, “Taking Islands In Africa.” After Japan broke up, David Sylvian went on to forge a brilliant new career as a solo artist; I’ve had the pleasure of seeing him and Sakamoto perform in Berkeley. So if you’re not hip to Japan, it’s time to revisit the band of the rising sun.

Friday Sex Song: The Chauffeur

Made you look, didn’t I? In honor of VH1’s “The Making of RIO” here’s a nasty banned video from 1982 for Duran Duran’s most erotic song, “The Chauffeur.” The last track on their pop masterpiece, RIO, and one that highlights Nick Rhodes mad synth skillz along with some of Simon LeBon’s most impressionistic lyrics, the video is a sensual combination of Helmut Newton and New Romanticism. Put this song on auto-repeat and at some point, you’ll get laid. Sing Blue Silver…

“My Own Way”

Man does not live on tea bags alone. To celebrate the upcoming RIO remastered double-disc set, here’s one of Duran Duran’s rarest singles that was re-recorded in a much different fashion for the album. I prefer this faster, string-laced take, particularly the extended Night Version. Russell Mulcahy helmed this fun video and nothing screams “80’s” like a flowing headband…Take it away Simon!

If McCain Wins…Meet El Presidente

A cautionary from Duran Duran, who know.

Dawn of the Duran: Happy Birthday Simon

To celebrate the birth of Duran Duran poet and singer, Simon Le Bon, nothing is more fitting for this Secret Oktober than the rare video for “Night Boat,” one of their most atmospheric songs from their 1981 self-titled debut album. Directed by Russell Mulcahy in 1982, this is the only music video of the band’s career to feature a voodoo zombie storyline definitely influenced by Lucio Fulci’s ZOMBIE. And I do love the little intro with Simon reciting verse from Shakespeare: “She is the fairie’s midwife…”

New Moon on Saturday

We have a second New Moon this month on Saturday. To reflect the ch-ch-ch-changes, there’s no better way to kick off the weekend than with “New Moon On Monday.” This was the first Duran Duran song I actually liked and led to my lifelong fandom.  Plus, the video is all about our Wild Boys instilling revolution in a repressive city as only they can in this Bowie-esque anthem from the new wave spring of 1983…

Happy Birthday Nick

To honor the birthday of Duran Duran founder and keyboardist, Nick Rhodes, here’s a live version of their classic “The Seventh Stranger” from 1984’s monster-hit record, “Seven and The Ragged Tiger.” I am an unapologetic Duran Durfan and the fact that they are still around, still making hit songs says something about their duran-ability. I hated them when they first came on the scene in 1982 and it wasn’t until after their mid-80’s heyday that I actually started listening. I was taken by Simon LeBon’s poetic, imagistic lyrics along with the melodic guitar and keyboard washes. Their music was cinematic and adventerous; they were the epitome of the New Romantics.

Duran Duran also put on some of the best live shows I’ve ever seen. I’ll never forget their Cal Expo appearance in July, 1987, my first DD concert, when during their iconic ode to one-night stands, “Save A Prayer,” a young girl busted through security, ran onto stage and grabbed hold of Simon LeBon. He waved off the security guards, wrapped his arm around her and sang the rest of the song as she clung to him like a child. Ah, the 80’s.

So Happy Birthday Nick. And many more. Believe it or not, “The Seventh Stranger” is still my favorite song of all time behind Sinatra’s “It Was A Very Good Year.” Go figure.

Pygar’s New Wings: John Phillip Law RIP

I’m stunned, saddened to learn of John Phillip Law’s death on Tuesday at the age of 70. He was suffering from terminal cancer, but he didn’t let it be known. I was fortunate to meet him and enter his world way back in 2001, when this SKIDOO obssession turned out to be much more than a hunch. I’ll never forget the first time I walked into his living room; he looked at my arm and said in that heavy Diabolik voice, “What happened to your other wing?”

I had met John through supercool Rick Gerrard, famed music producer who worked with Harry Nilsson (and produced Jefferson Airplane’s classic “Surrealistic Pillow” — had I known at the time I would have dogpiled Rick with questions) through Curtis Armstrong, Nilsson Scholar, through a nice guy in the Hollywood Book & Poster. At the annual NilssonFest that Curtis was hosting, I told Rick about my SKIDOO interest and the next day he saw John, who passed on his number to me. So when I say Six Degrees of SKIDOO, I mean Six Degrees…

John always had a very 1960’s European look, very tall, with his stark chiseled face and bright intense eyes. He made a perfect naive Russian sailor in THE RUSSIANS ARE COMING, THE RUSSIANS ARE COMING (1966) under the tutelege of Alan Arkin and director Norman Jewison. He got very hot, and Otto Preminger snapped him up for what he hoped would be the next GONE WITH THE WIND, his adaptation of the Southern race relations potboiler, HURRY SUNDOWN (1966). Law’s wife was played by Faye Dunaway, and in a scene where they kiss, Preminger was so dissatisfied he bumped their heads together. Hard. But there were no hard feelings. “Otto was a mean motherfucker, but I liked him.”

Of course, it was his role as “Stash” the hippy in the incredible SKIDOO that cemented him to my heart. At his home, he showed me a treasure trove of photos through the years from his films. He told me great stories about living with Roger Vadim and Jane Fonda during the 1968 making of cult classics BARBARELLA and DANGER: DIABOLIK, with John the only man to pull off a suit of tight black leather. His confident, crazed laugh and perfect comic book posture made this the best 60’s James Bond film never made. We talked about his amazing period when his brother Tom Law and him owned “The Castle,” a legendary 60’s mansion and hang-out spot for folk like Bob Dylan and The Beatles. Even Preminger came by to partake the happening.

I told John I liked him as one of the creepy hunters in the rarely-seen, disturbing OPEN SEASON (1974) with Peter Fonda and William Holden. We talked about stop-motion god Ray Harryhausen when John assayed the title part in THE GOLDEN VOYAGE OF SINBAD (1974). I also praised him for one of my HBO mainstays, ATTACK FORCE Z (1980) a terrific and bloody action yarn with co-star Mel Gibson, reminiscent of THE WILD GEESE (1976). He had a nice role in CQ (2003) Roman Coppola’s charming, under-rated hommage to genre films like DIABOLIK. Overall, John was a traveller, he spoke four languages, and for him, making movies seemed to be just as much about the journey as the destination. I taped a career interview with him last year and you can see a youtube excerpt, focused on SKIDOO.

When Martin Lewis contacted me last year about screening SKIDOO at the Mods & Rockers Film Festival, I was ecstatic and immediately invited John to the second and final screening at the Aero Theater in Santa Monica. Despite some recent hip surgery, he showed up in good health and high spirits. The house was packed and along with the last minute surprise of Blake Edwards showing up for THE PARTY (1968), it was fantastic to watch SKIDOO with John and a big crowd. I liked the attention he got from the fans.

I last talked to John a few weeks ago since the SKIDOO dvd I made for him wouldn’t play in his system. I promised to make him another, which I didn’t get to. He told me about the Italian biography coming out on him, DIABOLICAL ANGEL, and he mentioned that he was tired of jetting around. “You earned the right to be tired,” I told him. We had a couple of other SKIDOO screenings set-up for him to attend, but they haven’t come soon enough. I’m glad we had him for the Aero. On my answering machine, I have his rumbling voice letting me know whenever I need him for the next screening, he’ll be there. I believe him, and I’m not erasing that message.

John Phillip Law & Friend, July 29, 2007. Photo by Matt Rabin