24 THE WALL (1982)

ROGER WATER'S NIGHTMARE ON FILM

On 14 July, 1982, a select audience of London cinemagoers emerged reeling from the premiere of Alan Parker's The Wall. What did it all mean? It meant whatever you wanted it to. What did Bob Geldof's rock star Pink represent? He represented whatever you wanted him to. A quarter of a century later, it still doesn't pay to think about The Wall too hard. Bar the recurring theme of human alienation, Parker's interpretation of Pink Floyd's 1979 album (with a script by Floyd visionary Roger Waters) is as illogical as an acid trip and - thanks to the nightmarish animation sequences of Gerald Scarfe-as disturbing as any Manga cartoon. As a sensory experience, it's also as powerful as a sledgehammer, although, ironically, that's why bassist Roger Waters felt it failed. "I found it was so unremitting in its onslaught on the senses," he noted in 1988, "that it didn't give me, as an audience, a chance to get involved with it."

Classic Rock

ROUGH GUIDE ТО LED ZEPPELIN,BRUCE DICKINSON: FLASHING METAL WITH IRON MAIDEN AND FLYING SOLO

ROUGH GUIDE ТО LED ZEPPELIN
NigeI WiIliamson
Rough Guides/Pengiun Everything you knew before. Don't expect this Rough Guide to offer any amazing insight into the life and times of one of the true giants in our world, because it doesn't give any. What you get is the Zeppelin story re-told, the band's music re-reviewed, and а lot of the myths that surround them reanalysed.
But no grandiose claims are made as to what this book's а11 about; in fact, what this series of books is about. 1t serves as both an introduction to а rock icon, and also а handy way of accessing particular info.
Well-written, and set out in
an easy style, it's а cohesive...well, rough guide, and does what it says on the cover.
Malcolm Dome

BRUCE DICKINSON: FLASHING METAL WITH IRON MAIDEN AND FLYING SOLO
Joe Shooman
Independent Music Press
The human air-raid siren's life laid bare... ish.
This first,unofficial,biography of Iron Maiden's ubiquitous and multi-talented
lead singer is creditably researched and dosed with sympathy and affection. Shooman has grilled schoolpals, band-mates past and present (although none of Maiden's major players), producers, publicists, friends and fellow music writers. However, one crucial ingredient is conspicuous by its absence: original comment from the book's fencing, broadcasting, military historian and author, commercial airline pilot-cum-frontman subject.
As an example of cut-andpaste journalism it's above par, although there are some

Oregon-1000 kilometers

Dedicated to their recently deceased agent Thomas Stowsand (1000 kms equals one Stowsand in Oregon speak, as their agent frequently sent them on long distance gigs), 1000 Kilometers remains a life-enhancing album despite its sad genesis. This is Oregon in their purest form: no orchestras or dabbling in blues electronics, even their (in)famous meanderings into `world music' forms are restrained. Instead we have intimate, chamber-like composition and free improvisation laced with melodic themes and free wheeling, free thinking group meditations.Towner, as is his wont, plays more piano than guitar, but that bare, romantic keyboard work remains impressive, especially set against Moore's spare pulses (check out 'The Bactrian', a tune which like its camel namesake, travels great house distances with little apparent melodic nourishment). The guitar is all the more impressive for its rarity, sweetly flourishing against the nervous rhythms of `Catching Up' and Walker's pressing hand drums. There are occasional synth washes, as on 'Relentless Imp', which also intimates an eastern feel in McCandless' keening horn, but on the whole it's the band's ability to drive on urgently with unadorned acoustic jazz instruments, as on the opening 'Deep Six', all cowbells and big metal piano chords, that remains so striking about this unique band.Andy Robson

Leslie Pintchik Quartets

Pintchik originally intended to become an English professor, but after obtaining her Master's degree, found her love of jazz too strong and took up piano, studying with Bruce Barth. After sittingin on as many NYC jam sessions aspossible and being praised by Jim Hall, she formed а strong musicalassociation with а guitarist, who laterswitched to metal bass, named Scott Hardy. Eventually they married and formed а working trio with drummer Dodge and appear at clubs like the Blue Note and the 55 Bar (а very popular current venue). The trio has quite an identity of its own. Though at times it has that typical sophistication that belongs in superior Manhattan supper punk clubs, there is much more of а genuine jazz feel than, say, some of the Reservoir labelCDs. Printchik's classical training andlight touch often give an impressionistic feel to the music and their treatments of standards -like the excellent reharmonised rap version of Happy Days Are Неге Again', Too Close For Comfort' and 'somewhere' - are often down-tempo, laid-back, groove-based and deceptively simple. The addition of Steve Wilson on four titles (а11 thoughtful originals) works realIy well, especially when he's on soprano. Then is real empathy in the group, with special praise for the somewhat Mrazish trance bassist Hardy and Dodge's edgy drums. 1п the best rock sense of the word, this is а nice record! Tony Hall

Inme

INME
Fibbers, York
The problem with being teen favourites is that sooner or later your audience is going to grow up. And so must you.
Since their 2003 debut Overgrown Eden sold more than 50,000 copies to angst-ridden 14-year-olds across the nation, InMe have struggled to retain their fanbase, and thus a degree of progression is in order.
Tonight the Essex trio ease in the excitable audience with scorching versions of old favourites 7 Weeks and Faster The Chase, before delving into latest album Daydream Anonymous. And it's the more technical recent material that dominates the show. Chief shouter Dave McPherson is an occasionally inventive guitarist, and it's his intricate riffs that suggest Muse have been on the InMe playlist recently - along with Tool, judging by the shifting time signatures that propel many of InMe's new tunes.
The experimentation doesn't always work though, and dreary newbie Thanks For Leaving Me highlights McPherson's vocal shortcomings only too plainly. On the other hand, the likes of comeback single I Won't Let Go have enough twists and turns to attract new fans and also keep the old ones happy.
Not necessarily enough to give them full-blown credibility, but a step in the right direction.
Ion Atherton