Page 98 - Classic Rock (February 2020)

Morning Glory the massive LA Dodgers
Big Balls: Rare And
Unseen AC/DC Images
From 1976-1981
Rufus Stone Limited Editions
Fleetingly fascinating but ultimately overpriced
“limited edition” photo collection.
or a band with such a determinedly
no-nonsense musical style, AC/DC
Fnever underestimated the value of
visuals in rock’n’roll. From the day
Angus first pulled on his schoolboy
uniform, this has been a band inviting the
photographer’s lens. Even in their latter
years, from Brian Johnson’s flat cap to the
cannons to the pillar-like stance of
Malcolm and Cliff either side of the drum
riser, there has remained something
satisfyingly photogenic about them.
So a photobook devoted to AC/DC
makes sense, even if it’s only covering
the Bon Scott era and a few Johnson-era
sessions. And when it’s accompanied by
a sizeable introductory essay by rock
writer and long-time Acca Dacca fan
Howard Johnson, it is certainly worth
further investigation.
And as it turns out, the story he tells,
although relatively brief, is the most
illuminating thing about the book.
After that we get 250 pages of photos
from quality rock snappers Dick
Barnatt, Michael Putland, George
Bodnar, Fin Costello and Martyn
Goddard, which, while containing some
fine shots, are milked to the point of
98 CLASSICROCKMAGAZINE.COM
extensive repetition in order to fill up the
book – entire reels of minor variations of
the same unremarkable picture of
a contract signing or backstage larks
are presented as if we’re witnessing
supermodels throwing shapes.
They do back up Johnson’s view that, in
these early years, this was a band who
really were having a blast. And Bon’s
devilish charisma shines through even in
black and white. But if they were in an
exhibition you’d probably pick out
a dozen or so, and when you look at other
shots these photographers have taken of
the band, they’re not even the best ones.
And as a reader, without any captions or
explanation for the majority of shots, their
appeal is frustratingly limited. Any stories
behind the shots? We may never know.
Which might not be such an issue if
this was a mass market book, but this
limited edition collection (500),
admittedly signed by early bassist Mark
Evans, retails at £175. And when lacklustre
design reinforces the feeling of something
produced at no great expense, they’ve
certainly got balls to be demanding that.
QQQQQQQQQQ
Johnny Sharp
On The Vine: Stadium in 1975 fuelled the
Early Songs imagery of the Rocketman movie
& Drawings and constitute the heart of this
Joni Mitchell CANONGATE celebratory book.
A private gem for belated His intro is a eulogy to the
public consumption. singer, but then the pictures
Riding high on take over as he catches both
rave reviews for candid and charismatic scenes.
her fourth album Elton plays camp dress-up,
Blue in 1971, Joni leaning in to the role. It’s when
Mitchell decided we get to LA that things get
upon a very really weird: Elton pretending
special Christmas present for to attack Billie Jean King with
the friends who had contributed a baseball hat; one Cary Grant
to her burgeoning success. She turning up backstage (other
self-published this compendium stars were “starstruck”). Across
of handwritten lyrics, poems years, we see poses with Diana
and pictures, limited to a run Ross, Michael Caine, the
of just 100 copies; an almost McCartneys, Watford FC
mythical artefact among fans. players, Miss Piggy, a rabbit and
Now everyone can get their even Elton’s mum (with whom
hands on one (sturdily bound, he had a complex relationship).
as opposed to the dossier-like This is just one strand of
original held together with clip O’Neill’s wry, witty work, but
rings). It’s a beautifully even here you can tell he had
packaged item in which, the eye.
intriguingly, the lyrics to such QQQQQQQQQQ
classics as A Case Of You and Chris Roberts
Both Sides Now seem to take
on an extra intimacy when The Treasures
Of Queen
presented in her own delicate
scrawl. Of arguably greater Harry Doherty CARLTON BOOKS
interest, however, are the
Standard-fare bio, lifted by
previously unseen watercolours, fantastic visuals.
especially the portraits of her Although Brian
close colleagues David Crosby, May tells us in
Judy Collins, James Taylor and his foreword that
Neil Young. journalist Harry
Other sketches act as Doherty was free
illustrations of the times; the to “tell the truth
artists’ dining area at the as he sees it” in this coffee
Newport Folk Festival, an avid table-ready tome, you sense
fan reclining on her lawn, or that – as with the Bohemian
images that either represented Rhapsody film before it – nobody
wants to dig too much dirt.
or inspired songs (This Flight
Tonight). Quite why it’s taken so Doherty is a fine writer, and the
long to be made public is not text does the job, but you’ve
known; all Mitchell says in her heard this slightly sanitised
foreword is that “work is meant timeline – and the potted
to be seen”. bandmember bios – many
QQQQQQQQQQ times, many ways.
Terry Staunton Where Treasures does score
is the visuals – these 160
Elton John pages are sprinkled with old
Terry O’Neill OCTOPUS ticket stubs, rare posters,
New book from great, recently headshots, fan club ephemera,
deceased photographer charmingly quaint record label
focuses on Elton. mailouts, even a map of the
Terry O’Neill’s band’s 1974 European tour
death in itinerary, hand-drawn by
November at least May’s father and strangely
reminded us of moving. Most of all, there are
the range, insight some knockout photos, from
and humour of his photography. Freddie in prawn get-up and
From helping to present The banana head-dress for
Beatles’ personalities to that assorted music videos, to an
image of Faye Dunaway the extraordinary fisheye lens shot
morning after winning an of the crowd at Slane Castle in
Oscar, he glorified showbiz 1986. The nudie cyclists shoot
while slyly hinting at its is here, too, and feels more
underbelly. He shot Elton on jarring and boneheaded DICK BARNATT/RUFUS PUBLICATIONS
and off for over 45 years, than ever.
reckoning he’d taken over 5,000 The overall impression is of
photos of him. His captures at a brilliant pick-up-and-flick