Creation Stories

Alan McGee is ignored in his own office.

(2021) Music Biography (RLJE) Ewen Bremner, Leo Flanagan, Richard Jobson, Rori Hawthorn, Tess Rowe, Ciaran Lawless, Jack Paterson, Gerry Knotts, James Hicks, Irvine Welsh, Mickey Gooch Jr., Tom Dunlea, Suki Waterhouse, Elysia Welch, Seána Kerslake, Theren Raufman, Michael Socha, Thomas Turgoose, Paul Gallagher, Thomas Grant, Mel Raido, Siobhan Redmond. Directed by Nick Moran

 

In the late-1980s through mid-1990s, alternative rock was more or less dominated by the United Kingdom. With apologies to Seattle grunge and hip-hop (which was in its formative era back then), American indie music tended to follow trends set in England months and years earlier. It is startling for some American music fans who are interested in the era to discover that several different sub-genres were essentially brought into the limelight by one man and his record label; Scotsman Alan McGee and Creation Records.

As a young boy in Glasgow, McGee (Flanagan) lip-synched and played air guitar to Bowie while his abusive father (Jobson) despaired of his son ever making anything of himself. With the support of his mother (Redmond) and sister (Hawthorn), he managed to survive with ego intact and after seeing the Sex Pistols on TV, determined to move to London and start a punk band. Unfortunately, his timing was bad and he arrived just as the punk era was more or less fading out.

But the now twenty-something McGee (Bremner), while not himself talented as a musician, knew talent when he heard it. He found the Jesus and Mary Chain and became their manager, using the profits from that relationship to pour into a record label that he named Creation, named after a 60s band that he admired. The band was a seat-of-the-pants operation early on but McGee had an uncanny knack of discovering bands and trends – like acid house (Primal Scream), shoegaze (My Bloody Valentine) and indie pop (Teenage Fan Club) before they became huge. But his most notable discovery was Oasis, the band that spearheaded the Britpop craze of the Nineties, and was for a time the biggest band in the world.

But as all rock docs let us know, the success was fueled by excess as McGee became hooked on ecstasy, cocaine and eventually, heroin. After his drug usage got to a point (he famously claims that he doesn’t remember anything about 1993 except signing Oasis) that he had a breakdown, he managed to clean up, but the cost to his personal life was high.

Having been a rock critic during the heyday of Creation, I can testify to the influential status of the label. While they weren’t the only influential label of their time, there really hasn’t been a label like them before or since. Moran’s somewhat fictionalized account of McGee’s life captures the era well, using montages, archival footage and New Music Express headlines. For someone who was in tune with what was going on across the pond, it brought up a lot of memories.

For those who were less in the loop, it might all be a bit confusing – the introduction of since-disgraced British DJ Jimmy Saville late in the movie might not resonate with those who aren’t aware of the reasons McGee despised him so deeply, for example. Bremner plays McGee in a somewhat over-the-top manner which ordinarily might be off-putting, yet is perfect for the task at hand. McGee was (and is) larger than life and it is a tough assignment to get his personality just right and in many ways Bremner’s portrayal doesn’t do McGee justice, but to be fair, nobody could.

Moran’s directorial style seems heavily influenced by Danny Boyle in his Trainspotting days (Boyle is a producer here, not coincidentally) and yes, the hyperactive style that Boyle made famous back then works wonderfully here. There’s a lot of cheeky humor here, some of it of the meme-worthy variety, that seems in tandem with McGee’s personality. It may grate at times, but I found it amusing anyway.

If there is a problem here, it’s just that it feels so much like every other rock biography out there, with enough reverence to be nearly hagiographic, but enough irreverence to make it rock and roll. Moran also uses the hoary old conceit of telling most of the story as a flashback, using an interview that McGee does with a fictional but comely interviewer (Waterhouse) in Los Angeles as a springboard for his anecdotes.

McGee is not as well-known over here in the States as he should be, but thankfully, the music he helped bring to the world speaks for itself and there is plenty of it on the soundtrack. Even so, the movie is definitely all about McGee and his personality which permeates the film. This is isn’t a movie whose innovation will match the music that it chronicles, but it is serviceable enough a story and the music is good enough to carry the movie through.

REASONS TO SEE: A cheeky sense of humor. A great soundtrack.
REASONS TO AVOID: Seems a bit too much like most rock biographies.
FAMILY VALUES: There is a shit ton of profanity, drug use, some violence and sexuality.
TRIVIAL PURSUIT: The film made it’s world premiere at the 2021 Glasgow Film Festival, which is also where McGee was from and where much of the early portion of the movie is set.
BEYOND THE THEATERS: Amazon, AMC Plus, AppleTV, Google Play, Microsoft, Redbox, Vudu, YouTube
CRITICAL MASS: As of 3/2/22: Rotten Tomatoes: 64% positive reviews; Metacritic: 53/100.
COMPARISON SHOPPING: Kill Your Friends
FINAL RATING: 7/10
NEXT: Seobok: Project Clone

Advertisement

Liam Gallagher: As It Was

A rock star’s P.O.V.

(2019) Music Documentary (Screen Media) Liam Gallagher, Debbie Gwyther, Mike Smith, Paul Gallagher, JC Finan, Phil Christie, Drew McConnell, David Adcock, Peggy Gallagher, Sam Eldridge, Jay Mehler, Noel Gallagher, Christian Madden, Dan McDougal, Lennon Gallagher, Gene Gallagher, Paul “Bonehead” Arthurs, Mike Moore, Jo Whiley, Molly Gallagher. Directed by Gavin Fitzgerald and Charlie Lightening

 

Readers in their thirties or older will remember Oasis, the British pop group that dominated the British charts and earned praise and platinum record sales here in the States. Some might remember that they were led by the battlin’ Gallagher brothers, Liam and Noel who on August 28, 2009 got into a huge fight backstage at a Paris concert which led to the cancellation of the remainder of the tour. Noel quit the band the next day and the two brothers have not spoken or seen each other since.

The remaining members of Oasis continued as Beady Eye for a few more years but were unable to recapture the same magic or chart success as they had with Noel and broke up in 2014. Liam, despondent over the breakup of his band and also of the dissolution of his second marriage, wondered if his career had run its course. He self-medicated with alcohol and drugs before getting into a relationship with his former assistant Debbie Gwyther who would later be named his manager.

He went on to record an album, As You Were which was a smash success (a follow-up is scheduled to be released later this month – September 2019) and while Liam has matured some from his bad boy days, he is still the foul-mouthed straight shooter he has always been. He says what’s on his mind and the consequences are not a priority, although he admits that he has some regrets over the things he’s said in the past that have hurt people.

This documentary covers the time essentially from the day of the Oasis break-up to the end of the tour for As You Were. There are plenty of interviews, with Liam’s partner, mother, his brother Paul, label executives for Warner Brothers UK (who released the album) and musicians who played on the album.

There is a hint of hagiography; this has the feel of a promotional film, or worse yet, an episode of the old VH-1 series Behind the Music. On the surface, there seems to be an attempt to make this “warts and all” but it also must be said that the filmmakers hammer the point numerous times that family is important to Liam, particularly his mother, his two sons Lennon and Gene and the daughter he only recently discovered he had, Molly. It’s hard to reconcile that, however, with his refusal to even broach the subject of a reconciliation with his brother.

Personally, I don’t understand it, particularly in light of how quickly and suddenly people leave this life. They’re mad at each other over what, a band? The two grew up in the same fracking bedroom, for effs sake. What do these disputes matter? Who cares which one of them mans up and makes the first step? It’s not a freakin’ contest to see which one is the most stubborn. One day, one of them will be gone and then where will the other be? Kicking his own arse at what a fool he was all his life.

Fatherly advice aside (as if Liam or Noel are ever going to read it), there is a lot of great music here – Liam’s last album was killer, make no mistake. Still, this isn’t a movie that’s going to do much digging into the soul and psyche of Liam Gallagher and pretty much whatever your opinion of the man or his music, assuming you have one, isn’t likely to change much. While I highly recommend this for fans of Oasis – there’s a lot of great footage here you’re not likely to see anywhere else – those looking for a hard-hitting documentary that explores its subject with some depth are likely to be disappointed.

REASONS TO SEE: Definitely a must for Oasis fans.
REASONS TO AVOID: Feels a bit superficial, like an edition of VH-1’s Behind the Music.
FAMILY VALUES: There is a ton of profanity as well as some drug references.
TRIVIAL PURSUIT: Although Liam’s time with Oasis is extensively referenced, there are no Oasis songs on the soundtrack.
CRITICAL MASS: As of 9/16/19: Rotten Tomatoes:59% positive reviews: Metacritic: 49/100.
COMPARISON SHOPPING: Pulp: A Film About Life, Death and Supermarkets
FINAL RATING: 6/10
NEXT: Depraved

Can You Dig This

Hosea Smith testifies.

(2015) Documentary (Gathr Films/Gravitas) Ron Finley, Mychael “Spicey” Evans, Kenya Johnson, Quimonie Lewis, Randy Lewis, Hosea Smith. Directed by Delila Vallot

There is something soul-enriching about going into the yard and planting a garden. The serenity that comes from working with the earth, watching seeds sprout into life and grow into plants bearing fruit and vegetables that we take for nourishment; few things are as wonderful and as satisfying as eating something you’ve grown yourself.

In South Central L.A., one of the most dangerous and violent neighborhoods in the country, that isn’t always an easy proposition. Ron Finley, a local resident, was tired of having little more than fast food available to him as a nutrition option and with grocery stores selling mainly prepared or unhealthy items and no alternatives for healthy organic vegetables, he chose to grow his own. His garden, on the verge in front of the house, grew to enormous heights which turned into an oasis of beauty in a neighborhood of vacant lots, barred windows and trash. When he was cited for violating an ordinance preventing residents from planting anything but grass on the city-owned verge, he fought  the ordinance  which attracted the attention of Los Angeles Times columnist Steve Lopez. Lopez’ articles would eventually help turn the tide.

Other residents of the area were also inspired. Ex-convict Hosea Smith, living in a halfway house after being paroled from a thirty year manslaughter sentence, helped himself reintegrate into society by planting his own garden, along with his roommate Henry, also an ex-con. The two men formed a common bond by their love of growing things.

Kenya Johnson, an orphan, and Mychael “Spicey” Evans, a drug dealer, were both affiliated with gangs in South Central which is pretty much infested with them. The two found some relief through the Compton Community Gardens through a youth pastor there. Eventually the two, who had adjoining plots in the garden, became close friends and maybe more.

Quimonie Lewis, a precocious eight-year-old girl, likes planting things and wants to eat healthy things. With the help of her father, the Housing Project President where they live, she puts together a garden of her own, planting things like cantaloupes, tomatoes and peppers – all things she likes to eat. Her father, who has a heart condition, insists on eating an unhealthy diet, eventually being stricken with a serious heart attack. Quimonie sees her garden as a means of saving her dad’s life as well as a means of earning extra income for the family.

All of these stories are told through the warm eyes of director Vallot, who has a background as an actress and a dancer. Her camera movements are graceful as you would imagine a dancer’s would be, catching the jet planes that fly over South Central in mid-flight, going places most of the people who live there will never see. The sounds of gunfire, police sirens and jets are the constant soundtrack of South Central.

This is a gentle documentary, one that tells a story that actually can bring the viewer a feeling of inner peace as we watch how these people are directly affected by working with the soil and the sunshine and the water and the seeds, all that is needed to bring about life. As Hosea puts it, we all come from the soil and feel a connection with it.

Finley comes off as the most eloquent advocate. His efforts landed him a speech at a recent TED conference which has millions of YouTube views since it was posted; he isn’t what you’d call polished but the passion is there and so is the wisdom, although it is wisdom gleaned from the streets of South Central.

There’s an inspiring message to be had here; we can change the environment around us by something as simple as planting a garden, but it can go beyond that as well. For those who feel powerless and without any control, these are people who persevered and got something impressive done. Even Spicey, who was without work for more than two years, finds a job.

The editing could have used a little bit of work; some of the stories don’t flow as well as they should and in places we find out background information near the end of the movie that we could have used to put the film in context from the get-go, which makes for frustrating viewing; even the reveals have the subtlety of a sledgehammer.

I did like the documentary, although I felt it could hav used a little more time in the editing bay. With a defter touch, this could have really been something special but even so, the story is compelling and the film overall is inspiring. Not a bad way to be remembered if you ask me.

REASONS TO GO: Laid back and serene. Finley and Smith are compelling advocates.
REASONS TO STAY: A little disjointed. Lacks context.
FAMILY VALUES: Profanity throughout and drug use.
TRIVIAL PURSUIT: One of the executive producers on the film is singer John Legend.
CRITICAL MASS: As of 12/2/15: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: The Garden
FINAL RATING: 6.5/10
NEXT: Bone Tomahawk