We wanted to comment on the INXS doco a little… Above may we present a rockstar.
Below may we present… well… a bunch of Notstars.
We wanted to ask how such blatant hagiography made it to screen when its script was just so skinny. We felt the show seemed to be like an 80s TV telemovie which confused us – was it because it was a telemovie set in the 80s or because it had the production values of an 80s telemovie? But it was bought to us (sponsored) by Adelaide which probably makes some sense of that sense of unease (if that makes sense?!). And the cuts to pseudo-documentary were uncomfortable at best. It was all a little short of tension and drama, but not at all short of commercial breaks (which went some way to making the tension issue worse).
But we found The Vine did all these things better in this great piece HERE.
And this review threw light on our observation that their manager -
must be a true captain of Industry given the genius the script portrayed. INXS: Less Hutchence, more Murphy (maybe Chris could have sung instead of them doing that talent show thing with John Stephens?). It felt like a triumph in self-aggrandizement, and we are sure Doug Morris got his reputation by being unable to spot a hit. But then we read the Vine’s comments in the 24th, 63rd and 75th minute and the light of realisation shone brightly for us.
We wanted to ask what happened to all Kylie’s lines. Probably no one but her lawyer can explain that.
Rock God & Goddess territory.
(Finally and crucially) we wanted to wonder whether the band needed an infomercial (judging by the chart – why not?) or whether they were actually worth it (judging by re-listening to this Oakenfold re-rub on Suicide Blonde & it’s awesome best Nile Rodgers guitar part he didn’t write– yes)
It’s not their fault they are stuck forever in 80s fashion.
And as some people crave a review that sums everything up in one line we point you respectfully to the Vine’s comment on the 51st minute.
One for the poster there boys
