#michael chapman

[closetofcuriosities]

Taxi Driver Camo/Denim Shirt

[jt1674]

[sesiondemadrugada]

Dead Men Don't Wear Plaid (Carl Reiner, 1982).

[theoscarsproject]

The Clan of the Cave Bear (1986). A young Cro-Magnon woman is raised by Neanderthals.

Not even sure what to say about this one other than it's a mess from start to finish. It feels pretty transparently like an attempt to capitalise on the success and cultural legacy of Quest for Fire five years earlier, but Michael Chapman is no Jean-Jacques Annaud. It's clunky, misogynistic, and the worst thing cinema can be - boring. 2/10.

[80smovies]

[doomandgloomfromthetomb]

Michael Chapman - Peel Session 1968

In the latest edition of Uncut (the one with Broooooce on the cover), I was kindly given a page to wax poetic over a very interesting / very cool new collaborative release — Another Tide, Another Fish by Andrew Tuttle and Michael Chapman. Of course as you know, the mighty Chapman passed away a few years back. But here's the deal:

What we’re left with is indeed a hybrid: part remix album, part cover album, both a solo work and a collaboration, of sorts. Inspired by Chapman’s original ideas and with new track titles directly referencing the numbered but otherwise untitled source material, Tuttle adds his own flashes of colours throughout, including editing, sampling, MIDI transposing and signal processing that twists these songs into beautiful new shapes.

Meddling with a departed musician's unfinished material is always a dangerous game ... but Tuttle's work here is marvelous. It really does feel in keeping with Chapman's always adventurous spirit, but also like a true partnership; Tuttle's additions are much more than mere flourishes. Anyway, it's cool, go grab it.

Chapman's late-career renaissance/celebration was great to see. He was one of those people who, when you finally heard him via a reissue or something, you wondered why you hadn't been hearing him your entire life. With a lot of those guys, they're long gone before that reassessment happens. But Michael got to enjoy it all. A little rarity to listen to? How about his very first Peel Session, from way back in 1968. He was a young man then, but he sounds fully formed and wise beyond his years, ready for whatever came next.

[theartoftheframe]

THE FUGITIVE (1993)

Dir: Andrew Davis DP: Michael Chapman

[cappedinamber]

The Watcher (2000)

Directed by Joe Charbanic

Cinematography by Michael Chapman

[apicturespeaks]

All the Right Moves, Michael Chapman

[davidhudson]

Michael Chapman, November 21, 1935 – September 20, 2020.

With Martin Scorsese and Steven Prince during the making of American Boy (1978).

[streamondemand]

'Invasion of the Body Snatchers' in seventies San Francisco on Max and Prime Video

Invasion of the Body Snatchers (1978), Philip Kaufman’s remake of the 1956 classic, updates it from the homespun innocence small town fifties America to the busy urban modernity of San Francisco of the seventies and gives the metaphor a new context. Donald Sutherland takes the lead as Matthew Bennell, a field agent for the Department of Health, and Brooke Adams is colleague Elizabeth Driscoll, a…

[dustedmagazine]

Michael Chapman — And Then There Were Three (Lantern Heights)

Michael Chapman got framed as a folk musician, and if you relate culpability to association, it’s not hard to see why. He got his start performing in a folk club, and for most of his career he played solo guitar. He had plenty of blues licks in his bag, and told stories about weird nights with John Fahey. But in his own mind, he was not a folk musician at all, and records like And Then There Were Three, which has just been issued on two pieces of black vinyl after first being issued on CD in 2010, show how he realized his ambitions for a time, even when the resources he had to do so were starting to dwindle.

And Then There Were Three is a recording of a gig that Chapman played in Nottingham in 1977. At the time, he maintained a band, but the grind of steady touring in a depressed economy had shrunk its size to the number in the title. Chapman sang and played electric guitar, backed by Rod Clements (Lindisfarne, Jack The Lad) on electric bass and Keef Hartley (John Mayall and the Bluesbreakers, Rory Storm and the Hurricanes) on drums. It represents, one suspects, a typical gig. The set comprises songs from Chapman’s albums up to that point, including “Dogs Got More Sense” from his then-current LP, The Man Who Hated Mornings, and several gems from the albums he made for Harvest in the late 1960s and early 1970s — “It Didn’t Work Out” from Rainmaker, “Among The Trees” and “In The Valley” from Window, and “Kodak Ghosts” from Fully Qualified Survivor. 

But while those Harvest albums set Chapman’s gruff confessionals within sometimes-epic settings by a team of contributors who were working out the ideas they would subsequently take to Elton John and the Spiders From Mars, the sound of this trio applies a chemistry honed by relentless gigging to meeting the demands of crowds who wanted this night to be their crazy Saturday, no matter what the calendar said. So, they turned it up and, in idiosyncratic but business-accomplishing fashion, rocked out. Flanging and echo effects enable Chapman’s guitar to occupy plenty of space without resorting to show-off note-spraying. Clements on the other hand, is busily assertive, flexing an ambition to let you now that he can carry the tune as well as the groove. Hartley’s drumming is unflinching in the face of open-ended forays, unfailingly crisp and business-like, and persuasively funky on an up-tempo “Sea Of Wine.” Chapman and company are a jam band, if jam bands had to play sets to purposeful pub crowds instead of people who had already cued up a choice year of the Dead that they were going to play in the car on the ride home. And the folk moves are limited to a high-octane jig-boogie, a joke at Steeleye Span’s expense, and a cover of Alfred Reed’s “How Can A Poor Man Stand Such Times And Live?” that has been retrofitted with a rubbery groove. 

This is a record of its time, which was on its way out. With disco leaning in on one side and punk on the other, the audience for idiosyncratic but effective boogie was shrinking. Chapman would soon scale back to solo performance, leaving recordings like this as reminders of days gone by.

Bill Meyer

[bungitonthen]

24/9/24

into the fire - deep purple

mother dear - barclay james harvest

embryo - pink floyd

twisted track - the battered ornaments

glenlogie - shirley & dolly collins

the good mr square - the pretty things

song of the ages - roy harper

this worried feeling - bakerloo

eleanor's cake which ate her - kevin ayers

again and again - the greatest show on earth

water - third ear band

terrapin - syd barrett

a glade somewhere - forest

golden country kingdom - pete brown & piblokto!

round and round - panama limited jugband

black sheep of the family - quatermass

postcards of scarborough - michael chapman

maybe my mind with egg - tea & symphony

old gopher - edgar broughton band

(a breath of fresh air: harvest sampler 1970*)

speed king - deep purple

things may come and things may go but the art school dance goes on forever - pete brown & piblokto!

mocking bird - barclay james harvest

kodak ghosts - michael chapman

fireball - deep purple

10538 overture - electric light orchestra

stranger in blue suede shoes - kevin ayers & the whole world

fennario - michael chapman

the same old rock (end section) - roy harper

hotel room - edgar broughton band

effervescing elephant - syd barrett

song from the bottom of a well - kevin ayers

(harvest festival: 1999)

opening move ... second spasm ... lament ... checkmate - gryphon (red queen to gryphon three**)

*a top 20 best ever album fer sure

** dig the funky crumhorn, recorders & bassoon

[musickickztoo]

Michael Chapman 

January 24, 1941 – September 10, 2021

[soundandvicios]

Raging Bull (1980)

Directed by Martin Scorsese

Cinematography by Michael Chapman

Written by Paul Schrader and Mardik Martin

~ might be Scorsese's finest and to think he had to be persuaded by De Niro to make it.