entire program to Bowie live, along with a couple of songs from friends Marianne Faithful and Troggs.
This was my first experience with guitarist
Mick Ronson. Rono was Bowie’s living shadow. He was the absolute perfect side man and defacto leader of The Spiders from Mars. Ronson was a guitar master, and it just so happened that he was excellent in the theatrical performance. Ronson’s story is told in interview segments from Ronson himself, Bowie, Angie Bowie, Rick Wake- man, Dana Gillespie. Ian Hunter, Joe Elliot, pho- tographer Mick Rock, and many more. Rono’s career is explored in depth like never before. Ian Hunter speaks of Ronson and Bowie giving him a song when Mott the Hoople was on the verge of breakup. The song, “All the Young Dudes,” was recorded over two evenings and became an an- them, saving the careers of Mott the Hoople. The musical arrangements were all done by Ronson. Ronson’s career is explored further with discus- sion of his work with Lou Reed, Bob Dylan, Lulu, his solo work and more. Sadly, Ronson’s career was cut short when he passed away while record- ing a new solo record in 1993, The last time I per- sonally saw Mick was on the telly during a tribute to the late Freddie Mercury, pairing Ronson and Bowie on an amazing set that included a power- ful rendition of “Heroes” and “Under Pressure” that teamed Bowie and Annie Lennox. What a show. Through this documentary, Mick Ronson finally gets his due as a genius guitarist, arranger, writer and performer. An amazing look behind the cur- tain. As a bonus, the disc includes tons of ex- tended interviews. The package includes the film on both Blu Ray and DVD, “Ziggy played guitar,” but Mick Ronson made it sing.
-Michael Buffalo Smith
Plasmatics Live! Rod Swenson’s Lost Tapes 1978-1981 (MVD) I don’t know what I love more about these vin- tage Plasmatics performances – the meaningful lyrics behind their chart-topping hits like
“Butcher Baby,” “Squirm,” and “Monkey Suit,” or the subtle per- formances. Wendy O. Williams was indeed a great showman, whether tugging seduc- tively at the black elec- trical tape that covered her nipples, chain-saw- ing an electric guitar in half, exploding an on- stage automobile, simu-
lating (at least I think it was simulating) masturbation onstage, destroying a television while it was on – the wacky antics of this New York band were truly original. It was punk rock taken to the max. The funny thing is, somewhere there is a couple listening to the blood splattered vinyl single of “Butcher Baby” (which I actually purchased in 1979 from Horizon Records) and saying, “Listen honey, it’s our song!” Most of this footage has never before been re- leased. It’s mind blowing to think that this was nearly 40 years ago, long before Wendy checked herself out in 1998. The Plasmatics were driving their audiences into a frenzy with shows that took the Sex Pistols, The Clash and The Ramones and multiplied everything by ten. The 16 performances here are filled with unbri- dled energy and volume, theatre and camp, faux- violence and sonic bombast. Recorded live at various locations, the collection includes rockers from the 1981 Dr. Pepper Festival in New York where they performed for thousands; Perkins Place in Pasadena, California; Bond’s Casino in NYC; Caledrone Theatre on Long Island; and the legendary CBGB in New York city. Looking back at the age of 60, I can hardly be- lieve I was once into this music. But then I re- member why. It was all about youth rebellion and art, and as well all know, not all art is pretty. But if it makes you think it has accomplished the goal of the artist, and nobody painted a better picture with a bucket of black paint and a brush than Wendy O. Williams.
-Michael Buffalo Smith 60
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