And so it came to pass…
‘Lost in France’ is a film which covers a trip to an obscure French town many years ago by a group of ‘minor’ (at least at the time) Scottish musicians and groups (and a busful of their fans) for a mini festival in a fairly small bar/club venue. The film covers the return of a number of those musicians to the same location in 2015 for another set of performances, and it hones in on the independent record label Chemikal Underground, instigators of much of the original action (although as the film narrates it is not entirely clear who was really in control of what at the time).
The filmmaking team (inspired by love of music, as they said onstage before the screening) is mainly of Irish origin (north and south) and it has been financed by Irish and Scottish sources. It is perhaps best summarised as a documentary on the passage of time, people in their middle age (just tellin’ it!) looking back at grainy pre-digital footage of their youthful adventures, but it also serves as testimony to Chemikal’s independent “not giving a f___ about anybody else, yes sounds good we’ll just do it” attitude.
It’s also a testimony to the variety and range of talent which was bubbling under at the time, in the 13th Note and other various West of Scotland locations. Chem are still doing it, 20 years after the original events which prompted the film, and there is a certain wistfulness about some of the interviews… However BM is NOT A FILM REVIEWER, leave that to wankers with polonecks – only joking of course, readers…
So the Johnny 7 took to the stage in the mainly seated (deckchair, not cinema seats) ABC, not full as yet but getting there. They were in the film as well, mainly as a bit of comic diversion in between some of the more poignant scenes. Hilarious as ever (BM has dim memory of seeing them play some Glasgow nightclub, Fury’s maybe, in the very dim and very distant…) the ‘tached-up duo attempted a few lounge classics (Andy Williams among others) before finishing (“we are being told tae get aff”) with French classic ‘Je T’aime Moi Non Plus’ after a brief polka diversion. Priceless and peerless, they are obviously the best band BM has reviewed, ever, in their dreams, darling…
After the film The Maurons (named after said obscure French town) played a brief but stunning set, five songs (“all with a three chord remit”, confirmed Hubby in passing later on… “we had one day to rehearse for this!”).
Comprising RM (sitting down guitar at first, then bass later), Kapranos (guitar/vocals), Pollock, (guitar/vocals) Braithwaite (guitar/vocals) and Savage (drums), they all appeared in the film and cooked up this special collaboration for tonight, broadcast to various cinemas across the UK and Ireland, so no pressure then…
They started with Emma Pollock’s ‘Harperfield’ album cut from last year, a collab with Hubby, ‘Monster in the Pack’. It is a quite amazing song, Hubby plucking away and the others providing a low key backing to EP’s vocals, just a dramatic and passionate song, a great start. Things got more frantic with JAMC classic ‘Some Candy Talking’ (with Braithwaite taking some vocal duties along with Pollock), complete with accidental or deliberate feedback and a chance to flex the muscles of three guitars, bass and drums, taking the tempo up a bit and reminding us (as the JAMC prepare to return to more live Scottish action this year) of that band’s incredible influence and impact on probably most people in the room – EK’s finest, ok some of EK’s finest, Roddy Frame might have a thing or two to say, and a few others too…
Next up was a Pastels track (BM can’t remember what is called, sorry Stephen, who was mentioned in the film and in the crowd tonight) which came across really well and again reminded BM of legacy, influences and all, a great choice. (Sticking my neck out and saying ‘Nothing To Be Done – Ed)
‘Jacqueline’ (the Franz track) was the next choice, giving a longer-haired than in the film Alex a chance to show his vocal prowess and it certainly rocked, Hubby’s bass part throbbing away (missus) and everyone giving some licks. The last number was Trout’s 90s oddity (again shown in original in the film) ‘Owl in the Tree’ which was taken mainly by Kapranos but with notable screaming backing vocals by Braithwaite. Great to see Savage as well reminding us that he can boss on the drums, and several great guitar solos from the others along the way.
It felt fitting to the film, a true collaboration and a one-off, no grandstanding and respect all round. Nice is the wrong word – maybe justified and a little bit more ancient…(if you don’t mind, in the best possible way)…
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