One favorite Amy Winehouse video… well, two

So much has been written in the last few days about Amy Winehouse’s premature but sadly unsurprising death at 27 that I can’t add anything new, except to note again, as I did in my Peter Falk entry, how downright jackal-like and ugly the tabloid press is when it comes to troubled celebs. (Of course, as disgusting as TMZ is, the British press has been expert for decades in digging up unnecessary dirt.)

The singing that is heavily vaunted these days in the American mainstream (where soulless pap reigns supreme) is the pitch-perfect kind of emotionless swill that wins on American Idol and fills Vegas arenas (Celine Dion). Winehouse, on the other hand (and her un-addicted — as far as we know — countrywomen Adele and Joss Stone), was definitely connected to the great soul and jazz vocalists who gave emotional performances of songs, rather than technically perfect renditions of them.

Her addictions clearly linked her to Billie and Janis, but she had much more money at her disposal than either of those songbirds ever had (thus the sheer volume of drugs she was taking). She was also covered by the press in a nonstop fashion; Holliday and Joplin never had paparazzi camping outside their houses. Thus, her disease was in the public view for as long as she had it — and, of course, the song that “broke” her in America was perhaps the anthem of contemporary addiction (“Rehab”).

You can find an enormous amount of detail about Amy on the Web (too much in fact — and, yes, a few of the commentaries since her death have been extremely mean). I’ll just direct you to two of my favorite clips of her in performance.

The first is a beautiful version of the evergreen “Teach Me Tonight” done for the Jools Holland show (where she also performed “I Heard It Through the Grapevine”):



And the second is a live performance at the Mercury Prize ceremony in 2007 of one of her own songs, one that she seemed to always perform with a great deal of emotion — the final complete concert she performed in Belgrade (which is available on YT, but I’m not going to link to it) contained a sad and uncomfortable version of the tune. Here she’s in fine shape and excellent voice (again, I don’t give a shit about pitch-perfection, it’s the emotion in the delivery) singing “Love is a Losing Game” (an alternate great live version is here):

British humor 7: Bill Bailey

When I last wrote about the British musical comedian Bill Bailey on this blog, it was in the context of my discovery of a whole raft of brilliant English (and Irish) comics. At that time, there was very little of Bailey’s best work available on YouTube. But in the past few months the floodgates have opened, thanks to the appearance of an official Bailey channel. In honor of that fact, and also to salute the fact that Bill will be venturing back to these shores to play NYC (at the NYU Skirball Center, Sept. 14-17) with his show Dandelion Mind, I hereby offer this “update” of my tribute to him.

First, a little context for those in the U.S. who haven’t yet heard of the gent: Bailey is an expert musician who mixes music and absurdist observations — that’s the nearest I can come to putting a label on the kind of surreal verbal comedy he’s best known for. His act is, of course, better seen than described, but I will note that the best point of comparison for U.S. viewers is mid-period George Carlin, when George was doing an odd, trippy variant of standard observational humor. Add in the musical component, and you’ve got a very unique act indeed.

There are some rare clips of Bill before his act was honed here (check out those outfits!) and here. The single best quick intro to Bailey’s style is a clip from the special “We Are Most Amused,” where he’s introduced by some guy who looks very familiar:



Bailey has done quite a bit on British TV, but the first blossoming was probably his series Is It Bill Bailey? (1998). The show is not available on DVD over there, which is odd, since it not only is fondly remembered, but was directed by Edgar Wright and costarred Simon Pegg. The whole series is available on YT here, but here’s a sample of the sketch humor found in the show:



Bailey does not tell conventional jokes. Well, he does tell them, but a bit… differently. Here’s one of his many original takes on the old “three guys walk into a bar…” gag, from his Bewilderness (2001) performance DVD:



Bailey is a brilliant fellow and is unashamed to move his act into “higher” areas of speculation, while still keeping the tone extremely light. Here is his routine on Hawking’s Brief History of Time, where we get Bill’s take on the same notions that Carlin tackled in the link above:



Of all his DVDs, perhaps the best set of material is Part Troll (2003). He hits all the marks in that show, including more surreal flights of imagination…



musical absurdity…



and joyful musical parody (with Kevin Eldon, who does appear to be a through-line in all of the best recent-vintage British TV comedy):



Bill has done quite a lot of British TV, most notably the popular gameshow Never Mind the Buzzcocks. Here’s a talk show appearance, where he introduced host Jonathan Ross to the wonders of the theremin:



Perhaps Bailey’s most successful TV role was as accountant sidekick Manny in the Dylan Moran/Graham Linehan series Black Books (2000-2004). I have absolutely no idea why we have never seen this series in the U.S., since The IT Crowd crowd has proven to be such a success, and at its best Black Books is delightful. Here is our intro to Bailey’s initially uptight character:



Bill’s best work, though, is done on the stage. Here is a routine about the creation of the universe and Satan from his performance DVD Tinselworm (2008):



One of Bailey’s specialties are unconventional reworkings of old musical numbers. Here he adds an Indian flavor to “Dueling Banjos”:



His most ambitious undertaking to date in terms of live performance has been his Remarkable Guide to the Orchestra (2009). Here his rumination on the bassoon and its relation to Seventies pop:



A most recent creation, his ode to the intricacies of romance via Twitter:



Finally his Web-only videos, made from his “bunker” where he is planning to avoid the upcoming 2012 apocalypse. A few thoughts on the Mayans:



And the Bailey clip that has been ringing in my head in the last few days (in a good way): his discussion of the “devil’s chord” in heavy metal music and his brilliant take on a Metallica anthem. Spike Jones lives!