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There are many great films with narcissists as the lead character. There are films about characters behaving poorly because society says it's not only allowed but encouraged. We at See Hear felt that rock and roll cinema has its share of narcissistic characters who behave poorly with society's blessing....so we've picked not one, but two films that highlight this behaviour. Welcome to episode 139 of See Hear podcast. In the early 70s, nostalgia for the 50s was getting started. George Lucas was releasing one of the handful of films he made that didn't involve robots, walking carpets, and mysterious men in robes. That film was American Graffiti and it was set to a soundtrack of early rock and roll. In 1973, producer David Puttnam and writer Ray Connolly put together a story set in the same time period, but with a far grittier storyline. That story became That'll Be The Day, a film about a working class teenager Jim Maclaine who like many British youth caught the rock and roll bug. He quits school and leaves home (where he's desperately needed) to take a series of mundane jobs all in the name of his freedom. He proceeds to treat everyone he knows like dirt, all in the name of his personal freedom. He's far from sympathetic, yet we're fascinated by him. We also look at the film's 1974 sequel Stardust which has a Faustian premise – be careful what you wish for. Maclaine becomes a rock and roll star, and still treats those around him poorly....but he has none of the freedom he thought being famous would bring him. If That'll Be The Day was a 70s version of the kitchen sink drama, Stardust is a rock biopic about a character who didn't exist, and well before biopics became common. The films are stylistically very different, but very much two halves of the one story. Playing our anti-hero is pop star David Essex. By the time Stardust was released, he was a bona fide pop sensation, and the films may have served as a warning to him to treat people better than his character. Providing support is Ringo Starr (in what is often cited to be his greatest acting role), Keith Moon, Adam Faith, pre-JR Larry Hagman, and many others. These films were huge in their day, with soundtracks that sold in large numbers but are seemingly forgotten in the 21st century. Tim, Kerry and I were rapt to be joined by co hosts of Stinking Pause and Reel Britannia, Scott, Charlie, “Shakin'” Steven and Paul. These films are SO British, we couldn't NOT do them without their contributions to the conversation. 7 people on a podcast chat? Trust me, it worked....and hopefully you'll find it entertaining. We talk about kitchen sink dramas, nostalgia, rock and roll versus trad jazz in England representing the class wars, rock musicians who live in a state of arrested development, letting a record company's back catalogue dictate the soundtrack (sort of) rather than the writers, England's David Cassidy, and so much more. We forgot to talk about how when Ringo turns the other cheek, it's not the ones on his face......so I mention it here.... Our huge thanks go to the fine gents of Stinking Pause and Reel Britannia for joining in a lively conversation and educating us in British film history. You can find them at: https://stinkingpause.libsyn.com/ or at https://reelbritannia.libsyn.com/ or on the podcast app of your choice. We're looking forward to our next collaboration with the chaps. Check your streaming service to see if the films are available....or go and track down a double DVD set from Studio Canal with both films. See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com Send us feedback via email at [email protected] Join the Facebook group at http://facebook.com/groups/seehearpodcast You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify). Learn more about your ad choices. Visit megaphone.fm/adchoices

The exciting thing about doing See Hear podcast is that the three of us never know what the others are going to pick for discussion. This is not just relevant for film purposes, but musically, two of us may not be at all familiar with what the third person has picked....and so Tim selected this episode's film, Freaks In Love, a 2011 documentary about NYC band, Alice Donut. Welcome to episode 138 of See Hear Podcast. It would be fair to say that Kerry and I had never heard any of the music of Alice Donut. They're a punk band with a flair for poppy melodies. They can serve up equal amounts of wild, crazy music and very dark subject matter. They're a band who declare they stood against the music of Ray Parker Jr and Huey Lewis (apologies to those who enjoy those artists). On stage, they were anarchic, but offstage, they're free of the sorts of egos and behaviour that destroy many bands. Sure, they've argued – they're human beings – but this is a portrait of a group of musicians who enjoy each others' company as well as the music they make together. The added bonus to Tim picking this film is that we discovered one of the directors is friend of the show, Skizz Cyzyk. We didn't have to twist his arm too hard to get him to come back and talk about his film and the musicians that welcomed him into their world. He specialises in films about “outsider” music, and he would openly say so. Thank goodness for people like Skizz documenting the history that would otherwise pass us by. Check out our previous episodes with him on Icepick To The Moon and Sound Mechanic. This episode is dedicated to the memory of Chet Mazur. You can watch “Freaks In Love” on Youtube at https://www.youtube.com/watch?v=YWL5-XFGKgc&t=4108s See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com Send us feedback via email at [email protected] Join the Facebook group at http://facebook.com/groups/seehearpodcast You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify). Learn more about your ad choices. Visit megaphone.fm/adchoices

In the early 90s, things were radically changing for music. After a decade where music in the mainstream was often beholden to production excess, gated drums, and where there was ofte more polish on a recording than on a hospital floor, underground bands (for a time) brought things back to basics in the wider arena. Guitar riffs, hooks, and volume became the norm again (for a time). So, how did a film about a group of Dublin youths playing tough 1960s soul – as well as its soundtrack – become one of the biggest phenomenons around in 1991, the same year as Nevermind? Welcome to episode 137 of See Hear....sort of. In early July, Kerry and I recorded an episode of Reel Britannia with our dear friends Scott and Tom (of the Banned Biographies podcast). I knew Scott was recording an episode dedicated to Alan Parker's 1991 film The Commitments, and I pushed Kerry and my way onto the episode.....this is one of my favourite films ever, and knew we had to be part of the conversation. Scott has very graciously allowed me to put this episode on the See Hear feed as well. We will be welcoming the RB crew for an episode of See Hear in September, so it's a cross pollination thing going, you see. At the time of recording, it was a mere few weeks before the tragic death of Glen Hansard who was part of the Commitments ensemble. Because of its recording date, there is obviously no mention or tribute to this great musician (and from all accounts, a wonderful human being). We now dedicate this episode to his memory. We have a wonderful conversation about the power of music to bring people together, and the power of ego to tear the apart. Despite the film having a string element of social realism, this is no dire tale of the hardship of existence. Jimmy Rabbitte is a young music fan (played by Robert Arkins, not Argyle as I stupidly say in the podcast) who puts together a soul band – the music of the working class in his estimation – to bring joy to Dublin. What follows is an exercise in what happens when he brings 11 people together to play some of the most joyous and heartbreaking popular music of the 20th century. They form a microcosm of society who can achieve greatness and tear at each other. These youth learn to have aspirations greater than the hand that their hard lives have dealt them. Sounds serious, right? Nup – it's as funny as all get out, while still making some serious points about how people can love and hate each other all at once. Oh...did I say, it has the most brilliant (if jukebox) soundtrack? Kerry and I had an amazing time with Scott and Tom, and hope you enjoy. You can download the show from our feed or you can subscribe to Reel Britannia and get it there. It's always a treat to listen to their discussions about British cinema (and yes, we know The Commitments is Irish – we justify its place on RB). You can find RB at https://reelbritannia.libsyn.com/ or wherever you get podcasts. See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com Send us feedback via email at [email protected] Join the Facebook group at http://facebook.com/groups/seehearpodcast You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify). Learn more about your ad choices. Visit megaphone.fm/adchoices

It is often said that music is the great uniter....people are connected by a common love of music. Whoever said that hasn't spent any time in an online music discussion forum. One person declares their love of a particular musician, and the next thing we see are anonymous posts from society's music experts on why that person's pick is rubbish. Music CAN unite us, but it can also divide us. Welcome to episode 136 of See Hear Podcast. Kerry and I are thrilled to welcome back our brother, Tim Merrill after a needed absence. Our trio are back to discuss any manner of music-films. Our first round table in a while is the 2011 film, The Music Never Stopped. It's based on a case study by neurologist Oliver Sacks called The Last Hippie. The central protagonist has a large but benign tumour removed from his brain. The damage done to his hippocampus means he struggles to make new memories, and can only speak in short bursts. However, it's discovered that when he is asked about music, he returns to some sort of normality, particularly when asked about The Grateful Dead. The film differs from the case study in that it makes the story about the patient's (named Gabriel in the film) relationship with his father. We see Gabriel grow up originally engaged in his father's musical taste. However, as Gabe grows up during the late 60s in America during the era when teens were raging against the Vietnam conflict, the values of their parents, and were going in a very different musical direction, he storms out of home and is not seen for 20 years. When Gabe's parents rediscover where he is, Gabe's father (played by the wonderful J.K. Simmons) has to reconcile that to reconnect with his son, he has to forsake Bing Crosby for The Beatles, Bob Dylan, and The Grateful Dead. Like all good music films, there's more tackled here than the power of music to unite or divide. There's generation gap issues, mental health, family bonds, and the fragility of the brain. Search for the film on American Tubi (point your VPN to the US if you live elsewhere). It was so great to be reunited with Tim. I can assure you he's picked something very different for next month's film discussion.... See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com Send us feedback via email at [email protected] Join the Facebook group at http://facebook.com/groups/seehearpodcast You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify). Learn more about your ad choices. Visit megaphone.fm/adchoices

The origins of popular American and English music forms like blues, jazz, rock and folk are well documented in the English-speaking world (and possibly the non-English speaking world). So, when a film comes along that looks at something outside of that realm, I find my interest piqued. Welcome to episode 135 of See Hear Podcast. Greek-Australian film maker and academic Mary Zournazi decided she wanted to make a personal documentary about the history of Rembetika music, and its origins. I say “personal” because the story she presents is through the lens of her family history. This is no ordinary documentary about “this thing happening leading to that thing happening”. She goes back to the story of her grandmother being a refugee during  the Greco-Turkish war of the early 1920s, and how that war led to the environment of Greek diaspora refugees resettling in Piraeus and Thessaloniki. Many of these people brought their musical expertise and started playing in hash dens, singing songs of hard times – hence, why Rembetika is often called the blues of Greece. Mary’s 2021 documentary My Rembetika Blues does what all good music documentaries should do – it tells us as much about social circumstances as it does about music. She tells her family story, speaks to historians, musicians, instrument makers, a rap artist who links Rembetika to his modern style of performing, and a clergyman who is also a musicologist explaining the structure of the ancient Middle Eastern styles that led to Rembetika. Tim is still on leave, but Kerry and I had a brilliant time chatting with Mary about her film and personal history. This is a film that should be seen by anyone with a wider interest in music, and how history dictates its development. We’re hugely grateful for her time. You can watch the film on Video On Demand at https://vimeo.com/ondemand/myrembetikablues2 or if you’re a Kanopy member (and why wouldn’t you be), check to see if it’s on your library’s film catalogue. If you want to watch the Costas Ferris film Rembetiko directed by Costas Ferris that served as Mary’s inspiration to investigate Rembetika music, it’s on Youtube at https://www.youtube.com/watch?v=GZXSjtZ0P1I See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com Send us feedback via email at [email protected] Join the Facebook group at http://facebook.com/groups/seehearpodcast You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify). Learn more about your ad choices. Visit megaphone.fm/adchoices

Those of us fortunate enough to have employment in our chosen field should have (in theory) a pension / superannuation plan to take care of us in our autumn years. Sadly, some professions including ones that bring us most joy don’t always look after the practitioners. Opera composer Giuseppi Verdi knew that so he did something about it.   Welcome to episode 134 of See Hear Podcast.   It’s our first episode back after a hiatus, and what a film we have to talk about. Kerry and I were thrilled to have film producer Christine La Monte join us. She and director Yvonne Russo have brought into the world a film guaranteed to bring happiness to all who see it – Viva Verdi!   Giuseppi Verdi seems to have been a rare beast in the arts world – he was financially secure into his later years. He realised that many of his fellow travellers however (composers, musicians, singers) did not have a pension in their later years when they could not work. Verdi had a philanthropic background, and so he decided to develop a retirement home for musicians.   The documentary Viva Verdi takes a look at the residents of Casa Verdi over the last few years. All these musicians (mostly in their 80s and 90s) are still vital and have stories to tell and work to do. Keeping musically active in the retirement home helps keep dementia at bay, and makes the residents feel as important as they ever were. Christine tells us about her childhood love of opera when her peers were into rock and roll, the wonderful people she and Yvonne met, Verdi’s generosity….and Kerry and I agree that Viva Verdi was robbed at the Oscars.   We also briefly explore another opera related documentary Christine produced “Ai Weiwei's Turandot”. As opposed to Viva Verdi which celebrates the individual, the Aiweiwei documentary looks at the themes of opera to celebrate the collective. It’s social commentary in a world gone mad. At the time of posting this, Viva Verdi is only available for streaming in North America, though, Christine is working on a wider distribution method. It's having limited cinema screenings in the US, or it can be streamed at https://www.jolt.film/ (if you're outside the US, you'll need to turn on your VPN...don't get me started on these archaic region rules....) It's a wonderful film and worth the effort. Our conversation, however, is self contained, so you can listen and enjoy without having seen the film. See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com Send us feedback via email at [email protected] Join the Facebook group at http://facebook.com/groups/seehearpodcast You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify). Learn more about your ad choices. Visit megaphone.fm/adchoices

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Aaaaah, 80s cinema. When asked to think about films from the 80s, chances are you recall blockbuster adventures featuring an archaeologist carrying a whip or dancing as a form of rebellion or taking a day off from school and getting into hijinks. If the backers of a film by Allan Arkush hadn't decided to go adopt the Bialystock principle to film production, it's possible that a chaotic comedy about a rock concert on New Year's Eve at a theatre modelled on the Fillmore East may also have been fondly recalled by many people. Welcome to episode 133 of See Hear. In 1983, film director and music nerd (and previous See Hear guest) Allan Arkush wanted to make a film mildly recalling his days working at the Fillmore East while studying at NYU. He had to make certain changes to get it financed, but the backers did everything they could to get that film sunk for tax reasons. That film was Get Crazy. The story behind it is as frustrating as the film itself is entertaining...and Kerry, Charlie and I get into both aspects. The film is a live-action cartoon with the old-fashioned elements of “let's put on a show” and villains who want to destroy the theatre the show is playing in at any cost. It's a film that could only have been made at this time....Malcolm McDowell, Lee Ving, and Bill Henderson show how to be a front man for a band. There are so many jokes that don't land...and many more that do. That doesn't matter. The backers wanted this film to ride the popularity of Airplane / Flying High....and despite Arkush's original plans for the film to be a more serious consideration of his early memories, it works a treat as a musical comedy of bizarre proportions. If you haven't seen Get Crazy, there's a beautiful blu ray available from Kino Lorber, or it's on Youtube at https://www.youtube.com/watch?v=zrIRmMNi800&t=504s It's wonderful to have Charlie of the Stinking Pause podcast on an ongoing basis while Tim is taking a well needed break. All the best to our listeners as we say farewell / piss off to 2025. Happy new year to us all. If you’ve been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens..... See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com Send us feedback via email at [email protected] Join the Facebook group at http://facebook.com/groups/seehearpodcast You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify). Learn more about your ad choices. Visit megaphone.fm/adchoices

Backstabbing, faux-sincerity, clawing one's way to the top, class division, those at the top thumbing their noses at those further down the ladder....all political concepts, right? Actually, all of this is in reference to the 1975 Robert Altman film “Nashville” about the country music scene....which in itself serves as a political allegory. Welcome to episode 132 of See Hear. In the early seventies, Robert Altman was becoming known as a director of ensemble pieces without the usual approach to narrative. He could be seen as being part of the New Hollywood that emerged in the late 60s, but truth is, he was a film maker unto himself....as different from everything else that was going on as other directors that emerged in this period were to what came before. He already had some hugely important films like M*A*S*H and The Long Goodbye, but to many, Nashville is considered his masterpiece. It featured multiple storylines surrounding musicians, hangers on, lovers, and political strategists. The film takes place over 5 days leading up to a concert supporting a presidential candidate. In between, we musical performances that reflect the political era – some in bars, some in the Grand Ol' Opry, some in hotel rooms. The film shows many of these people in a poor light – some are greedy, some are deluded, all are desperate. Many of the songs in this film were composed by the actors, leaving the Nashville music fraternity annoyed that they weren't consulted, and that these pesky Northerner actors thought they could understand what country music was about. Altman must have been forgiven as his final film many years later was A Prairie Home Companion (a very early See Hear podcast focus). Tim is taking a few shows off, so wasn't available, but Kerry and I were thrilled to be joined by co-host of the Stinking Pause Podcast (and occasionally Reel Britannia) Charlie Mahoney. He's a confessed Altman fan and brought some wonderful conversation and insight. We look forward to welcoming him back to future shows. If you’ve been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens..... See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com Send us feedback via email at [email protected] Join the Facebook group at http://facebook.com/groups/seehearpodcast You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify). Learn more about your ad choices. Visit megaphone.fm/adchoices

So many biopics feature the story of an artist from cradle to grave....all in 2 hours. Those of you who know me or have listened to the show before know I'm....uh....not a fan of these types of pods. They're often a cherry picked list of moments in the artist's life until the moment of triumph – artistically and in overcoming personal obstacles. Springsteen: Deliver Me From Nowhere does it backwards. Welcome to episode 131 of See Hear Podcast. In Springsteen: Deliver Me From Nowhere, we find Bruce at an artistically satisfying place and being hugely popular (though not as popular as he would get). What does an ambitious artist do following a number 1 record with one of the greatest working bands in America? He goes into a bedroom with a 4 track recorded (new technology for the day), records a bunch of dark personal songs about troubled people....and insists on putting these songs (FROM A CASSETTE) out as his new LP. The film follows the book by Warren Zanes “Deliver Me From Nowhere” which covers the period in exquisite detail. It covers Springsteen's fascination with a serial killer and classic cinema, and how they helped influence his songwriting of the period. The story behind Nebraska is not what you'd expect from a Hollywood film...not about the man who was simultaneously recording the biggest album of his career while he was recording the most personal. The film starts with a superstar who has mental health issues, and needs to deliver something small. If we were doing bonus / Patreon shows, this would most likely be classified as one of those. Instead of badgering my partners Kerry and Tim into seeing this new Springsteen biopic, I went with 4 willing folks to a local cinema, then adjourned to a nearby cafe'. Loaded up with coffee and cake, I plugged in an external microphone into my phone, turned on the voice recorder software, then had a conversation about with my wife Joanne, and our friends Kate and Geoff about the film we had just watched – no time to fashion our thoughts....just an instant gut reaction. Sadly, Joanne couldn't be picked up on the mic with the constant background noises one hears in a busy cafe, so she's been edited out. This episode is short, and we surely missed out salient points that further contemplation might have bought – that doesn't matter. This is an honest reaction. Next month, Kerry, Tim and I will return to the style of show you're familiar with. If you’ve been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens..... See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com Send us feedback via email at ⁠[email protected] Join the Facebook group at http://facebook.com/groups/seehearpodcast You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify). Learn more about your ad choices. Visit megaphone.fm/adchoices

History is full of famous tales that are told from one perspective. As we all know, everyone has their own version of how something went down....even if it doesn't contradict the popular narrative, there's always something that happened in the background whose importance is diluted or not told at all. Welcome to episode 130 of See Hear Podcast. In 1974, a German teenage jazz fan named Vera Brandes was inspired to book jazz pianist Keith Jarrett to perform at the Koln Opera House. This seemed like a gigantic task however you look at it. Vera had gained a little experience in helping touring musicians perform around Germany (already a big task) but getting one of the then new leading lights in jazz to perform a large venue like the Koln Opera House at the age of 18???? Adding to the degree of difficulty, Jarrett arrived in Koln to discover that there was only an out of tune, broken pedal baby grand with stuck keys. Things happened, the concert was recorded, and the resulting album sold more than any other solo piano jazz album in history. The thing is....everyone talks about Jarrett's ability to improvise on a (partly repaired) piano for an hour and create wonderful art. The part that is often missing or diluted from the story is how Vera Brandes made this happen at all. If she hadn't been so inspired to promote this show, the biggest selling piano jazz album ever, belongs to someone else. Director and writer Ido Fluk was so inspired by this story, he decided to make a film to tell it from Vera's side of the tale. Sure, Jarrett is a strong part of the filmed version of events, but make no mistake – this is Vera's story. She went on to be a successful album producer and music promoter, but this is the tale she wanted told. As the analogy is made in the film, sometimes you have to tell the story of the scaffolding to appreciate the story of painting the Sistine Chapel ceiling. On the latest episode of See Hear, Tim, Kerry and I were thrilled to chat with Ido about what the definition of success is, how making great art is not always about the artist solely, and how his own journey to write the tale in some ways reflected Keith's approach to improvisational music composition. Mala Emde as Vera and John Margaro as Keith are real revelations. Both actors reveal their characters as 3 dimensional in a way that may not have been in lesser hands. Ido is an incredible director who really knows how to tell a story and how to get the best out of his cast. The film has already had festival screenings in Europe and the US, and is about to get a wider cinema release there. Hopefully, it gets wider worldwide release, before landing on streaming or physical media in the not too distant future. Trust me – you can listen and enjoy this conversation independently of seeing the film....but rush to it first chance you get. Our huge thanks to Ido for his generosity of time and conversation, and to publicist Sasha Berman for making it happen. If you’ve been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens..... See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com ⁠ Send us feedback via email at ⁠[email protected] ⁠ Join the Facebook group at ⁠http://facebook.com/groups/seehearpodcast ⁠ You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify). Learn more about your ad choices. Visit megaphone.fm/adchoices

Punk music branched out in the late 70s / early 80s into a harder, faster, thrashier style than its earlier predecessor. If (as is often claimed) the original wave of punk was a reaction to the complexity of prog and the lack of danger in other forms of popular music, then hardcore was the next phase of that during the era of post-punk. It was about catharsis and screaming out about injustice. Then there was Bad Brains. Welcome to episode 129 of See Hear Podcast. Tim has selected the 2012 documentary Bad Brains: A Band In DC for round table discussion. Bad Brains brought something different to the table for their time. In America in the early eighties, punk bands generally weren't playing reggae music as a regular part of their sets. Certain British bands were combining punk energy with a reggae outlook in their music. Bad Brains had gone from being influenced by the jazz fusion stylings of Return To Forever to being converted to punk via the Sex Pistols (already making them unique). Seeing Bob Marley perform made them convert to Rastafarianism and incorporate reggae as well as hardcore punk into their music – not a hybrid, but two sides of the same coin. The documentary goes back and forth between current day events (at the time of filming) and archival footage of the band to tell their story. We get a worrisome start with a “how-did-we-get-here?” approach to the rest of the film.....a trope I'm quite fond of. In a way, the Bad Brains tale could be the story of millions of bands, but they're seen as hugely exciting pioneers of what they do. Many important bands that followed sang their praises as an influence (Beastie Boys, Nirvana, Black Flag....) HR, their “lead throat” gradually became more and more unstable in his behaviour, and in a time where no one was using the expression “mental health”, his behaviour was probably explained away as “that's just HR”, rather than investigating if there was something wrong. Sadly, Kerry wasn't available, but Tim and I discussed positive mental attitudes, wearing motorcycle helmets on stage, not showing up to gigs, punk that wasn't nihilistic, and much more. The film may be found online at: https://www.dailymotion.com/video/x6e5wnw If you’ve been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens..... See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at ⁠http://pantheonpodcasts.com ⁠ Send us feedback via email at ⁠[email protected] ⁠ Join the Facebook group at ⁠http://facebook.com/groups/seehearpodcast ⁠ You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify). Learn more about your ad choices. Visit megaphone.fm/adchoices

There’s a moment in Mel Brooks’ “History of the World Part 1” where we’re told that shortly after the first artists came the first art critics…..I’ll leave you to determine what happens…. The music world is certainly not short of people with opinions in regards to others’ ability to perform and provide nuance to the work they present for us as music lovers to listen to. In the classical world, interpretation of the canon of baroque, classical, romantic and modernist music can be a mystery to some of us who are not classically trained musicians.  There’s no shortage of classical soloists who’ve captured the wider public’s imagination, yet have their critics as well. Welcome to episode 128 of See Hear Podcast. Glenn Gould is regarded as one of the great pianists of the 20th century, known in particular for his love of and heavy focus on the composition of J.S. Bach. However, he wasn’t unanimously revered. Pianist Alfred Brendel was vocally not a fan. Even Leonard Bernstein who did love Gould’s approach  covered himself before a TV broadcast of a Brahms piano concerto by saying Gould’s approach was not going to be for everybody. Therein lies the heart of the matter – when you depart from an accepted orthodox style of playing of the canon, you’re going to upset people. Glenn Gould upset some people. BUT….the reason he is still being talked about was for what he DID, not what he didn’t do. He’s most famous for his first and last released recordings, Bach’s Goldberg Variations (1955 and 1981). Even there his recordings are wildly different, and the latter upset some who championed the earlier recording. He’s also remembered for his intellect and could discuss may other issues outside of music – something he did on radio and TV specials. In 1993, film director Francois Girard released a brilliant biopic / documentary called “Thirty Two Short Films About Glenn Gould”. Like its subject, the film takes a wildly different approach from the accepted norm of musician biopic. As the name implies, the film comprises of 32 shorts featuring narratives, interviews, performance and experimentation that provide a strong sense of Gould’s character. There is a 3 act structure, but not in the usual way that you get in a conventional musician biography. June 2025 sees the reissue of the film by Criterion, and I was thrilled to welcome Francois to the podcast to talk about this film and Gould in general. Unfortunately, we couldn’t coordinate the timing to have Tim or Kerry available, but I still had a fascinating conversation with Francois that I hope you find illuminating. If you’ve been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens..... See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com Send us feedback via email at [email protected] Join the Facebook group at http://facebook.com/groups/seehearpodcast You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify). Learn more about your ad choices. Visit megaphone.fm/adchoices

Frank Zappa is an odd duck. His massive back catalogue of albums attracts both reverence and ambivalence from music fans. Stylistically, he covered so much ground covering doo wop, blues, psych, jazz fusion and dissonant orchestral music. Unlike many of his rock and roll contemporaries, he always believed in infusing a sense of humour into his music – both compositionally and lyrically….though since what strikes some as funny is so subjective, it couldn’t appeal to everyone. He wrote about commercialism in America, the hypocrisy of conservatives and liberals in American society, and….umm….body parts. Welcome to episode 127 of See Hear Podcast. Tim, Kerry and I pontificate about the work of Frank Zappa with an eye towards his 1971 film, 200 Motels. It’s a surreal work that’s supposed to be his take on what life on the road is like for a working band – encountering rednecks and groupies, band egos and paranoia (the latter for good reason in this instance), and drug use. The film is vignette based with music provided by the 2nd incarnation of the Mothers of Invention and the London Philharmonic Orchestra. Zappa spent 4 years composing and arranging the music, and much less time writing a script. That works out as well as expected. As well as discussing 200 Motels, we put the background towards its creation in context, thanks to an excellent documentary called “Frank Zappa – Free Jazz, Movie Madness & Another Mothers”(available on Tubi). Many thanks to Tom Stein for making us aware of that film’s existence. If our discussion goes all over the place, maybe it’s a tribute to the structure of 200 Motels. Tune in and hear where we stand on this surreal piece of cinema. Is it Luis Bunuel? Well….would Luis Bunuel have dressed Ringo Starr up as a tall dwarf with a desire to do something with a genie lamp to Keith Moon dressed as a nun? The answer is probably “When will we get paid….” If you’ve been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens..... See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com Send us feedback via email at [email protected] Join the Facebook group at http://facebook.com/groups/seehearpodcast You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify). Learn more about your ad choices. Visit megaphone.fm/adchoices

It's not too often that a story will make a connection between Linda McCartney, The Beastie Boys and The Clash, but this month's film does just that. Welcome to episode 126 of See Hear Podcast. When the average person is asked to name a single important figure in reggae music, they'll most likely say Bob Marley. Without taking away from his importance, reggae's production giant, who helped Marley in his early years, was Lee “Scratch” Perry. For this episode, we look at a 2008 documentary called The Upsetter: The Life and Music of Lee Scratch Perry. He was born in a rural area of Jamaica, but after working on a job to build a road in the western region of the island, he claimed to have found a connection between the sound of the rocks he helped move and the sound of music – sure beats the usual musician story of stealing their sibling's record collection. The film certainly tells a story, but is also more of a character study about Perry. He was a musical innovator being an early innovator in dub reggae. He'd recorded and produced music that was ska and rocksteady reggae, but it's his experiments in dub he's most remembered for. He's also remembered for burning down his beloved music studio because a rubber ball placed on his console had been moved – okay, the story's a little more complex than that. Was he eccentric? Was he a charlatan? Was he really named Pipecock Jackson, and looking to become American president? The film only looks to Perry for discussion, so without other talking heads, we ask if he's a reliable narrator. Kerry, Tim and I discuss Rastafarianism, the link to Sun Ra, sound systems, our connections to reggae music, and the scary connection to Dennis Wilson. Please join us for a fun conversation. You can find the film on Kanopy, but our conversation can be listened to independent of the film. If you’ve been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens..... See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com Send us feedback via email at [email protected] Join the Facebook group at http://facebook.com/groups/seehearpodcast You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify). Learn more about your ad choices. Visit megaphone.fm/adchoices